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Talk:Acetylcholine receptor

Contradiction to textbooks and article about muscarinic acetylcholine receptors
The paragraph about the mAChR claims that "The alpha subunit of the G-protein activates guanylate cyclase (inhibiting the effects of intracellular cAMP) [...]". This is in contradiction to basically all textbooks and the common understanding of GPCRs. Gs- or Gi-coupled GPCRs act on adenylate cyclase to increase or inhibit cAMP-production, respectively. Direct activation of guanylate cyclases should not be possible, given that GCs are ligand-activated enzymes (directly binding extracellular peptides or NO). The article about the muscarinic receptors does not even mention cGMP. If this statement was actually true (which would come as a surprise to me), it would need a citation. — Preceding unsigned comment added by MosesMaWo (talk • contribs) 06:04, 17 May 2023 (UTC)

Untitled
I believe nicotinic receptor slows the heart rate when ach binds to the receptor and it contradicts your description about acetylcholine receptor. Please check and make corrections if neccessary.

Thank you,

yoko onishi

Hi Yoko - what is the specific contradiction? Acetylcholine receptors can be both excitatory or inhibitory depending on the subtype.

Someone should probably add a passing mention of the role these receptors play in the autonomic nervous system. 128.42.167.200 22:28, 20 February 2006 (UTC)

Hi Yoko and other :-)

I would sincerely like some more information on this as there is definitely a role for lower arousal due to upregulation of cholinergic receptors in offspring of mothers who smoke in pregnancy. I'm a novice at all of this so would appreciate any input in this regard. I believe that the balance between the sympathetic and parasympathetic branches of the ANS are altered by maternal smoking and have subsequent effects on behaviour when the upregulation is not 'satisfied' by continued nicotine/cigarette smoke. There is also a role for carbon monoxide's effects on norepinephrine. Any comments or help much appreciated. Alison

What kind of analogy is "staves around a barrel"? A stave (or "staff") to me is the 5 horizontal lines upon which you write notes in musical notation. An analogy is supposed to be provided to make it easier to comprehend the subject matter, not to cause the reader to have to research the terms used in the analogy and then come away still not understanding the intent of the writer.

I've been studying this subject out of my spare time, and I was wondering how to pronounce "acetylcholine". Does anyone know how? 98.247.153.182 (talk) 11:22, 24 February 2009 (UTC) A twelve year-old in search of knowledge --24.233.100.158 13:20, 12 August 2007 (UTC)

Minor change
The picture was changed to the one used in acetylcholine because the old does not meet the criteria for chemical formulas.

-- Panoramix303 18:07, 8 November 2007 (UTC)

Hei! You say in article: "The cytoplasm side of the nAChR receptor has rings of high negative charge that determine the specific cation specificity of the receptor and remove the hydration shell often formed by ions in aqueous solution. In the intermediate region of the receptor, within the pore lumen, valine and leucine residues (Val 255 and Leu 251) define a hydrophobic region which the dehydrated ion must pass through.[2]"

But the ions do not lose the hydration because there is no place that atracts their water and the pore widens enough so the ion can pass along with the binded water. The article (2) you refer to also says so and not what you wrote. —Preceding unsigned comment added by 90.227.59.93 (talk) 10:51, 20 October 2009 (UTC)

I added information under Role in Health and Disease about the effects of mutations on AChRs and the role they play in Congenital myasthenic syndrome. Jaforward13 (talk) 20:01, 24 April 2013 (UTC)

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Table legend
The symbols '-' and '+', which probably denote agonist/antagonist action in the table, need to be explained in a legend. vkehayas 15:17, 26 May 2017 (UTC) — Preceding unsigned comment added by Vkehayas (talk • contribs)

Wonky paragraph
I feel like in this paragraph, the information bookending the sentence on Myasthenia Gravis is confusing, "Nicotinic receptors are the primary mediator of the effects of nicotine. In myasthenia gravis, the receptor at the neuromuscular junction is targeted by antibodies, leading to muscle weakness. Muscarinic acetylcholine receptors can be blocked by the drugs atropine and scopolamine." Because the first sentence is about nicotinic receptors and the last is about muscarinic receptors, but there is no mention or clarification of how either of these relate to Myasthenia Gravis. I was trying to further understand the disease, but this section led to more confusion. Mangofirst (talk) 22:05, 3 February 2019 (UTC)

title: Talk:Acetylcholine receptor


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Carte Manuscripts

The Carte Manuscripts are archived historical papers collected by Thomas Carte (1686–1754). They are held in the Bodleian Library, at the University of Oxford, England.

Among Carte's collection were many documents relating to the history of Ireland. Thomas Carte gave a first tranche of Irish papers to the Bodleian in 1753.

Carte's papers were arranged for binding in 276 volumes in 1862, and in 1871 Charles William Russell and John Patrick Prendergast edited the eight-volume Report on the Carte Manuscripts in the Bodleian Library.

A catalogue of the Carte Papers is available via the Online Catalogues of Western Manuscripts at the Bodleian Library. A handwritten calendar of the Carte Papers, produced between 1878 and 1883, is available in the Library. The 1660-1687 section of the Carte Calendar is published online.

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

title: Carte Manuscripts


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User:Rwmcfa1

Projects I'm involved with: http://gtk2-perl.sourceforge.net/ (one of three primary developers, perl bindings for the gtk+ library) http://cairographics.org (not officially part of the project, but i've been working on a pdf backend that       hopefully at some point will be incorporated)

title: User:Rwmcfa1


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Linda Gary

Linda Gary (born Linda Gary Dewoskin, November 4, 1944 – October 5, 1995) was an American actress.

Live-action appearances
Gary worked as a voice-over artist in animation and also appeared in two live-action films, 1977's Joyride To Nowhere with husband Charles Howerton and 1980's Cruising with Al Pacino. She lent her voice in such movies as Wolfen and Switch.

Radio
Linda played Dr. Maura Cassidy on Lee Hansen's Alien Worlds.

Early career
She got her start dubbing Italian films into English while living in Rome with her husband Charles Howerton, then returned to the U.S. in 1974.

Gary started going to voice acting classes taught by Daws Butler. She later claimed "When I got my first voice over job, I just sent Daws the check...He believed in me, and I really have him to thank for my career."

Hanna-Barbera
Gary voiced different characters on several Hanna-Barbera television series: Scooby-Doo and Scrappy-Doo; The Smurfs as Dame Barbara in one episode; Top Cat and the Beverly Hills Cats as Mrs. Vandergelt; The Pirates of Dark Water, where she did additional voices; and SWAT Kats: The Radical Squadron as Doctor Abby Sinian. She voiced Queen Morbidia & Nekara in The 13 Ghosts of Scooby-Doo.

ABC Weekend Specials
ABC Weekend Special was a Saturday morning TV series that aired from 1977 to 1997. It featured stories in both the live-action and animated realms. Gary's voice could be heard on Scruffy, The Puppy Saves the Circus, The Amazing Bunjee Venture, The Return of the Bunjee, The Velveteen Rabbit and The Magic Flute.

Disney
During the 1980s and 90's, Gary did several guest voice-over appearances in such Disney television series as Adventures of the Gummi Bears, Darkwing Duck, DuckTales, TaleSpin, The Little Mermaid and Bonkers. She voiced a gazelle and a hippo on The Lion King tie-in read-along cassette story The Brightest Star. She also voiced Maleficent and the opening narrator in Fantasmic!. She voiced Muffy Vanderschmere in TaleSpin and Blender, Floor Lamp and Green Car in The Brave Little Toaster.

Read-Alongs
She narrated Disney read-along stories in 1977: Three Little Pigs, Cinderella, Alice in Wonderland, and It's a Small World. She also narrated a quartet of the Rainbow Brite read-along stories.

Sunbow/Marvel Productions
Gary voiced several additional characters on the 1984 Transformers animated series. She also voiced Raven, a Cobra Night Raven pilot in the G.I. Joe episode "In the Presence of Mine Enemies".

Marvel Productions
Gary voiced Colleen in an episode of the short-lived 1981 Spider-Man with Ted Schwartz as Peter Parker/Spider-Man, and voiced Aunt May in the first season of the 1994-1998 Spider-Man with Christopher Daniel Barnes as Peter Parker/Spider-Man. She was later replaced by Julie Bennett.

Filmation
Her voice acting was mostly for the Filmation studio. She voiced characters in several of Filmation's TV series such as The Kid Super Power Hour with Shazam!, Blackstar, and as the title character in Web Woman.

Gary voiced Jane on an episode of Tarzan, Lord of the Jungle.

She also did voice work on He-Man and the Masters of the Universe (initially miscredited as "Linda Gray" ) and She-Ra: Princess of Power. She was reunited with fellow voice-over actors Alan Oppenheimer and George DiCenzo from BlackStar. She provided many of the female voices on He-Man such as Teela, Evil-Lyn, the Sorceress of Castle Grayskull and Queen Marlena, as well as several from She-Ra like Madame Razz, Glimmer, Shadow Weaver, Scorpia and Entrapta.

She voiced several films for Filmation such as He-Man and She-Ra: The Secret of the Sword, Pinocchio and the Emperor of the Night, He-Man and She-Ra: A Christmas Special and Happily Ever After as Critterina and Marina.

Universal Cartoon Studios
Gary voiced the role of Grandma Longneck in The Land Before Time II: The Great Valley Adventure, The Land Before Time III: The Time of the Great Giving and The Land Before Time IV: Journey Through the Mists. She was later replaced by Miriam Flynn.

Video games
In video games, she provided voices in several adventure games such as King's Quest VI as the Oracle, Red Chess Queen, Mother Ghost and Queen Allaria, Thayer's Quest as Lady in the Woodlands and Gabriel Knight: Sins of the Fathers as Grandma Knight/Tetelo.

Personal life
Gary was born in Los Angeles, California, on November 4, 1944. She married actor Charles Howerton on December 21, 1967, and had two daughters, Alexis and Dana. Gary was also stepmother to Howerton's daughter from his previous marriage, Lynn Howerton. She died of heart failure and complications of brain cancer on October 5, 1995, at her home in North Hollywood, California, at age 50. She is buried at Mount Sinai Memorial Park Cemetery in Hollywood Hills.

title: Linda Gary


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Rob Liefeld

Robert Liefeld (born October 3, 1967) is an American comic book creator. A prominent writer and artist in the 1990s, he is known for co-creating the character Cable with writer Louise Simonson and the character Deadpool with writer Fabian Nicieza. In the early 1990s, Liefeld gained popularity due to his work on Marvel Comics' The New Mutants and later X-Force. In 1992, he and several other popular Marvel illustrators left the company to found Image Comics, which started a wave of comic books owned by their creators rather than by publishers. The first book published by Image Comics was Liefeld's Youngblood #1.

Liefeld has been called one of the most controversial figures in the comic industry for his drawing skills,  business practices,  and controversial comments.

Early life
Rob Liefeld was born on October 3, 1967, in Fullerton, California, the younger child of a Baptist minister and a part-time secretary. He and his sister, seven years his senior, grew up in Anaheim, California.

Liefeld's love of comics began as a child, which led early on to his decision to be a professional artist, a practice that began with his tracing artwork from comic books. As a high-school student, he took basic fundamental art courses, and attended comic book conventions at the nearby Disneyland Hotel, where he met creators such as George Pérez, John Romita Jr., Jim Shooter, Bob Layton, Mike Zeck and Marv Wolfman. Liefeld cites Pérez, along with John Byrne and Frank Miller, as major influences. He has also noted how the influence of Arthur Adams is visible in his art.

Early career
After graduating from high school, Liefeld took life drawing classes at a local junior college, working odd jobs for about a year, including as a pizza delivery man and construction worker, while practicing his artwork, samples of which he sent to small comics publishers, as he was too intimidated to send them to the "Big Two" companies of Marvel Comics and DC Comics.

Among the editors he sent art samples around 1985 to Gary Carlson of Megaton Comics. Carlson was working on Megaton #4, and was looking for replacements for artists who had moved on to bigger projects. Liefeld's submission packet consisted mostly of pinups of DC Comics characters like the Teen Titans and Legion of Super Heroes, as well as some sketches of Megaton characters. Some of these earlier pinups are visible on Liefeld's website. Although Carlson thought Liefeld's depictions of his characters was not sufficiently accurate, and exhibited what Carlson characterized as "some goofy anatomy", he found Liefeld's storytelling to be clear, and his rendering style evocative of the influence of artist George Pérez. Although Carlson liked Liefeld's work overall, he felt the young artist was not ready for professional work. Weeks later he received another set of samples that were an improvement, and later still, a four-page Berserker story (not to be confused with the Marvel or Top Cow characters of the same name), along with pinups of the Megaton characters Ultragirl and Ultraman. Carlson used one of the pinups as the inside front cover to Megaton #5, and Liefeld's Ultragirl pinup in the company's Who's Who-type reference book Megaton Explosion #1 (June 1987). The book also featured an entry for Liefeld's own creation, a team of superheroes called Youngblood, the very first appearance of that team in print.

Carlson and his colleague Chris Ecker later met with the teenaged Liefeld, who at that point had not yet obtained his driver's license, at the Ramada O'Hare Hotel, which was then the location of the Chicago ComiCon. Impressed with the artist's enthusiasm and the new art samples he showed them, Carlson gave Liefeld a test script in order to judge his ability to draw a page-to-page comics story. Although Carlson was impressed with Liefeld's layouts, the story was eventually drawn by Gary Thomas by the time it saw print in Megaton #7. Two months later Liefeld drew the team in an advertisement in Megaton #8 (August 1987), which indicated that it would next appear in Megaton Special #1, by Liefeld and writer Hank Kanalz, with a cover by artist Jerry Ordway. However, Megaton Comics went out of business before that could be printed.

Success with DC Comics and Marvel Comics
Learning from a friend of a comic book convention in San Francisco where a large number of editors would be in attendance, Liefeld and his friend drove several hours to San Francisco, where they stayed with his aunt and uncle. At the convention, he showed editors his samples and offered a package, which consisted of 10 pages of sequential art featuring his own characters. Editor Dick Giordano, to whom Liefeld showed his samples at the DC booth, requested that Liefeld send him more samples. Although Liefeld was apprehensive about approaching the Marvel booth, he did so at his friend's urging, and as a result, editor Mark Gruenwald offered Liefeld a job illustrating an eight-page Avengers backup story featuring the Black Panther, much to the 19-year-old artist's surprise. Though the published story was ultimately illustrated by another artist, Liefeld was later given character design work by the publisher. His first published story, was a DC Comics Bonus Book insert in Warlord #131 (September 1988). Editor Robert Greenberger recalled that Liefeld "was discovered by my office-mate, Jonathan Peterson, who was scrambling to find something for him to do. I had the Warlord Bonus Book slot coming up, so to keep Rob from finding work at our rival, I tapped him for that." Next came the five-issue miniseries Hawk and Dove for DC Comics, the first issue of which was published with an October 1988 cover date. It was this work that first garnered Liefeld visibility among readers of mainstream comics. That same year, Liefeld drew Secret Origins #28.

Liefeld's layouts for Hawk and Dove #5, which took place in a chaos dimension, were oriented sideways so that a reader would have to turn the comic book at a right angle to read them. Because this was done without prior editorial approval, editor Mike Carlin cut and pasted the panels into the proper order, and Karl Kesel lightboxed them onto DC comics paper to ink them. The letters column of Hawk and Dove #5 mentions that Liefeld "showed something new to an editor who thought he'd seen everything." Liefeld explained this was how the dimension had been portrayed the only other time it had been shown. Kesel disputed this, asserting that this was the first time that dimension had been shown, but a 2007 article in Comic Book Resources pointed out that artist Erik Larsen had indeed portrayed that realm in this manner in Doom Patrol #14, which had been published three months prior.

Shortly thereafter, Liefeld began doing work for Marvel Comics as well, his first assignment for them being The Amazing Spider-Man Annual #23. In 1989, Liefeld became the penciller for the Marvel series The New Mutants, starting with issue #86. He is generally credited for turning this lowest-selling title of the X-Men franchise into a financial success, which underlined the increased popularity and clout that his stint on the title had earned him.

With The New Mutants #98, Liefeld assumed full creative control over the series, penciling, inking and plotting, with Fabian Nicieza writing dialog. The New Mutants series ended with issue 100, and was replaced with a revamped version of the team called X-Force, whose 1991 debut issue sold four million copies, setting an industry-wide record later broken by Chris Claremont and Jim Lee's X-Men (vol. 2) #1. The sales numbers were propelled by 1990s direct market sales strategies: five variant edition trading cards were polybagged with X-Force #1 to encourage sales of multiple copies to single collectors, while X-Men #1 was sold with five variant covers. As of 2013, X-Force #1 remains the second highest-selling comic book in history.

In mid-1990, Levi's began producing a series of TV commercials directed by Spike Lee for their 501 button fly jeans, which included an onscreen 800 number that viewers who worked in unique jobs could call in order to appear in the company's commercials. After calling the number and leaving a message describing himself and his career, Liefeld appeared in one of the commercials, in which Lee interviews Liefeld about his career and his creation, X-Force.

Liefeld was subsequently interviewed by Stan Lee in the second episode of the 1991 documentary series The Comic Book Greats, in which he discussed how he broke into the industry, demonstrated his drawing technique, and talked about his Levi's commercial.

Leaving Marvel Comics, co-founding Image Comics
Liefeld's relationship with Marvel began to break down in 1991 when he announced plans in a black-and-white advertisement in the Comics Buyer's Guide to publish an original title with competitor Malibu Comics. The exact title is unknown, but according to journalist Michael Dean, it was something to the effect of The X-Cutioners, a title whose similarity to Marvel's X-Men family of titles evoked the ire of Marvel editor Bob Harras, who threatened to fire Liefeld if he used that title.

Liefeld and several other popular young artists including Jim Lee, Todd McFarlane, Erik Larsen, Whilce Portacio, Jim Valentino and Marc Silvestri left Marvel in 1992 to form Image Comics. Each co-founder formed his own studio under the Image banner, such as Liefeld's Extreme Studios. Liefeld's superhero team series Youngblood, which is partially a derivative of a 1991 Teen Titans series Liefeld had proposed to DC Comics, was the first comic Image published. He appeared on an episode of The Dennis Miller Show to promote the book.

The series' first issue met with negative reception from fans and critics for the unclear storytelling effected not only by Liefeld's art, but by the book's flip format, which some readers found confusing, as well as the book's poor anatomy; incorrect perspective; non-existent backgrounds; poor dialogue and the late shipping of the book, a problem that continued with subsequent issues. In an interview in Hero Illustrated #4 (October 1993), Liefeld conceded disappointment with the first four issues of Youngblood, calling the first issue a "disaster". Liefeld explained that production problems, as well as sub-par scripting by his friend and collaborator Hank Kanalz, whose employment Liefeld later terminated, resulted in work that was lower in quality than that which Liefeld produced when Fabian Nicieza scripted his plots on X-Force, and that reprints of those four issues would be re-scripted. Writer and Comics Buyer's Guide columnist Peter David pointed to Liefeld's scapegoating of Kanalz as an example of Liefeld's failure to take responsibility for his project, and evidence that genuine collaboration with good writers like Louise Simonson and Fabian Nicieza, which some of the Image founders did not appreciate, had previously reflected better on Liefeld's art.

Other titles produced by Liefeld's Extreme Studios during the 1990s included Brigade, Bloodstrike, Glory, Prophet, Supreme, Team Youngblood, Youngblood Strikefile, Troll, New Men and Avengelyne.

In 1996, Liefeld's and Lee's studios signed with Marvel to re-envision several of the company's core series, an event called "Heroes Reborn." Liefeld was contracted to write twelve issues of The Avengers, co-written with Jeph Loeb, and was to pencil twelve issues of Captain America. Due to disappointing sales, Marvel terminated the agreement after six issues, and reassigned the two series to Lee's studio, one of the most controversial episodes in Liefeld's career.

Departure from Image
In June 1996, Marc Silvestri temporarily left Image with his Top Cow imprint over conflicts with Liefeld, with Image Comics executive director Larry Marder saying that Liefeld "was making an increasing number of business decisions that were counterproductive to being a business partner." In early September, Liefeld issued a press release stating he was resigning his position at Image and leaving the group. Nearly simultaneously, the other Image partners issued a press release stating that they had fired Liefeld. His resignation came only minutes before the second meeting that would have forced him out. Liefeld moved all his publishing ventures into a new company, Awesome Comics. This new enterprise, announced in April 1997 as a partnership between Liefeld and Malibu Comics founding partner Scott Mitchell Rosenberg, concentrated its efforts on newer properties.

Awesome Comics
After leaving Captain America, Liefeld attempted to buy the rights to Fighting American, a similarly patriotically themed 1954 character from Captain America's creators, Joe Simon and Jack Kirby. The still-living Simon and Kirby's widow agreed to a figure Liefeld felt was too high, and he created a new similar character, Agent America. Simon threatened to sue, and the parties renegotiated a deal acceptable to all. Marvel Comics then sued Liefeld, who was allowed to use the character but not have him throw his shield weapon, a distinctive trait of Captain America.

Liefeld also hired comic book writer Alan Moore to revive many of Liefeld's creations. Moore wrote a few issues of Youngblood and Glory, but his most lauded work for Liefeld was on Supreme, for which Moore won the 1997 Eisner Award for Best Writer.

Awesome's initial releases included new properties like Kaboom!, created by Jeff Matsuda. Awesome ceased operation in 2000 due to the departure of its primary investor.

2000s work
In the 2000s, Liefeld returned to his former characters in the X-Men franchise, providing pencils for the occasional cover and/or interior of Cable and X-Force until the early 2000s, when both were canceled.

In 2004, he reunited with Fabian Nicieza for an X-Force limited series and illustrated the early covers for Nicieza's Cable and Deadpool. In that same year, Liefeld formed Arcade Comics and once again announced plans to revive Youngblood. These involved reprinting older material and providing the art for two new series Youngblood: Bloodsport with Mark Millar and Youngblood: Genesis with Brandon Thomas. Although the former only published one issue, Liefeld expressed hopes to finish the series.

Liefeld and writer Jeph Loeb returned to the Heroes Reborn Universe with Onslaught Reborn, a five-issue limited series that premiered in November 2006. It met with poor reviews.

In 2007, Liefeld and writer Robert Kirkman collaborated on a revival of Killraven. Although five issues of the series were finished, the project was cancelled without any of them being printed.

In July 2007, it was announced that Rob Liefeld and Youngblood would be returning to Image Comics after years of self-publication. This new partnership marks the first time in a decade that Liefeld and Image would collaborate on a project. This Youngblood series was written by Joe Casey with art by Derec Donovan and Val Staples, and covers by Liefeld. It debuted in January 2008. Liefeld took over writing and art duties with issue #9, though that would be the series' final issue. To commemorate the event, and the 15th anniversary of Image Comics, the 2007 San Diego Comic-Con was headlined by the Image Founders panel, where all seven of the original Image Comics founders appeared on stage together.

2010s work
2010 saw Liefeld return to the Deadpool character, first by penciling issue #1 of the Prelude to Deadpool Corps series, the issue focusing on Lady Deadpool. Liefeld became the regular artist on Deadpool Corps, providing the interior art for the first nine issues.

In March 2011, Liefeld was announced as the artist on The Infinite, a mini-series written by Robert Kirkman. In January 2012, this project was canceled by Liefeld after Kirkman's studio, Skybound, disagreed on the work of a new inker Liefeld hired to draw 14 of the pages in issue #5, which Liefeld re-inked as a result.

In June 2011, he was announced as the artist on a new Hawk and Dove series, with writer Sterling Gates, as part of The New 52, DC Comics' relaunch of their entire superhero line, returning Liefeld to the characters that helped establish him in the industry. When that book was canceled as of issue #8, Liefeld was hired to take over three other titles: Grifter, Deathstroke and The Savage Hawkman, plotting all three, while also writing and drawing Deathstroke. Though he indicated in July 2012 that he would stay on the titles for a run that would end in 2013, he abruptly quit DC Comics in late August 2012, announcing that the #0 issues to be published in September would be his last. Though he characterized his experience on The New 52 as an overall positive one, he did not disguise his animosity toward editor Brian Smith, with whom his clashes were among his reasons for leaving the company. Other reasons he cited were frequent rewrites of his material, and the overall corporate culture that was more prevalent now that both DC and Marvel were owned by large media conglomerates. Liefeld also referred to Scott Clark's artwork on Grifter as "crap". Liefeld indicated that he would return to focusing on his creator-owned properties at Image, including Bloodstrike, Brigade, as well as other projects yet to be specified. In response to these events, artist Pete Woods defended DC editorial, stating that the restrictions placed on creators was the result of a plan they had for all 52 of their titles that required them to be consistent with one another. Editor Tom Brevoort and writer Gail Simone defended Brian Smith, disputing Liefeld's characterization of him, leading to a heated exchange on Twitter between Liefeld and Brevoort, and eventually head Batman writer Scott Snyder as well.

In 2011–2012 Liefeld returned to his earlier creator-owned characters, with new books written and illustrated by other writers and artists. These included a new Avengelyne ongoing series debut at Image Comics under the creative team of Mark Poulton and Owen Gieni, a Bloodstrike series written by Tim Seeley, a Glory series written by Joe Keatinge and illustrated by Sophie Campbell, and a Prophet series written by Brandon Graham that garnered critical acclaim. He also published revivals of Youngblood with writer John McLaughlin with artist Jon Malin and Supreme by Erik Larsen in 2012.

In August 2012 Liefeld generated controversy by posting a tweet in which he said of his creation, Deadpool, and the creators who worked on the character:

"'Testament to Deadpool's appeal and durability is that he thrives regardless of being regulated(sic) to D-list talent. Marvel A-list never touches'"

The comment was met with criticism by industry professionals who pointed to the esteemed creators who had worked on the character that Liefeld was apparently calling "D-list" creators. Among these critics was Rich Johnston of Bleeding Cool, who pointed out that some of these past creators included Joe Kelly, Ed McGuinness, Joe Madureira, Gail Simone, David Lapham and Kyle Baker. Artist Dave Johnson, who had also worked on the character, referenced a video Liefeld posted on the Web a year earlier of him inking a comics page while driving, by saying, "Yes!!! I've been elevated to the "D list" of talent. Thanks Rob. Now if I can only learn how to ink while driving a car." Then-Marvel Editor-in-Chief Axel Alonso also referenced other creators who had worked on Deadpool, including Gerry Duggan, Brian Posehn, and Tony Moore, saying, "Welcome to the D-list, @GerryDuggan @thebrianposehn @tonymoore! Howdy Doody just put your name on the list." Writer Rick Remender, another veteran of books featuring Deadpool, stated, "Lot of talented people you just called out as D-list. Might be a better way to congratulate yourself?" Liefeld defended his statement in subsequent tweets posted that day, tweeting, "Truth hurts. Did I miss the Brubaker Deadpool arc? The Millar Deadpool arc? The Loeb Deadpool arc. Get over yourself. The flip of my statement is that Marvel doesn't feature their prize talent on Dpool and the character does well-Mostly newbies, hence D-list". Liefeld stated that his point was that "heavy contract players" at Marvel such as Leinil Francis Yu, Steve McNiven, Arthur Adams, and Olivier Coipel did not produce regular monthly books featuring the character. On March 3, Liefeld apologized for his comments, saying, "As a parent I tell my kids it costs nothing to apologise, so here goes: I apologise and am truly sorry to everyone I insulted with my D-list comments. I said it and can't take it back." Liefeld stated that his original complaint was that Marvel tended to rely on new and unproven talent on Deadpool, and not to attack creators such as the then-new team of Brian Posehn, Duggan and Moore.

Liefeld made a cameo appearance in the 2016 film based on his most famous creation, Deadpool, which was released in February 2016. In an interview that month, Liefeld stated that he was working on the graphic novel Deadpool: Bad Blood, which was set for release later that year. In 2017, it was reported by Deadline that Liefeld was working with Akiva Goldsman and Graham King on a seven-figure movie deal for his Extreme Universe.

In June 2019, Liefeld reacted to the sweeping editorial changes that occurred at DC Comics in the aftermath of a controversial printing error on Batman Damned #1 with a set of two tweets in which he stated, "DC Comics gonna drive off a cliff here real soon…..gotta get my popcorn...I ain't never seen a company in as much disarray as DC Comics. Thank God they have Batman to act as their Tylenol, Asprin [sic], laughing gas… 'more Batman will fix it!'" When writer Mark Millar expressed skepticism of this prediction, pointing to DC's strong lineup, Liefeld replied that Millar's assessment was a dated one that had not been true since the 1980s. Liefeld further tweeted, "I understand my DC honesty will cost me a potential opportunity but who cares! C'mon… they should fire everybody in management and refresh. Batman will still be there for the next group...And Jim Lee could finally draw the X-Men for you again!!! Wins all around!!" Liefeld eventually deleted the initial two tweets, but they nonetheless prompted a series of arguments between Liefeld and users who criticized him for his remarks. This was followed by Liefeld's concession that neither Marvel nor DC were in any danger of shutting down, and his announcement that he was ending his Twitter account, and would be using Instagram.

2020s work
In July 2020 IDW Publishing released the first issue of Snake Eyes: Deadgame, a G.I. Joe-related series co-written by Liefeld and Chad Bowers, and penciled by Liefeld, Adelso Corona, and Neil Vyetake. Around that same time, Liefeld began a podcast on iTunes, Spotify and Podbean called Robservations, in which he talks about different topics pertaining to the comics industry.

On October 12, 2023, Liefeld debuted on his Instagram account a proof of concept trailer for Bloodstrike, based on the Image Comics series he had debuted in 1993 as a spinoff of Youngblood. Bloodstrike features a squad of assassins, each of whom is a super-powered operative who died in the line of duty and was resurrected by a secret government program called Project Born Again. The short was directed by Philip J. Silvera, who had met Liefeld during production of the 2016 Deadpool film, on which Silvera had served as stunt coordinator and second unit director. Over the years, interest had been expressed in the property by individuals such as Akiva Goldsman and Graham King, and production companies such as Netflix, which optioned the development rights, but these eventually expired without any produced results. Liefeld explained in the caption that accompanied the trailer that he released it in the hopes of spurring renewed interest in producing a Bloodstrike film, saying, "When taking a comic book from page to screen there are always hurdles, screenplay, screenwriters, talent that attach and move on. It gets old really fast." Liefeld hoped the film would be directed by Silvera, whom Liefeld said had expressed not only a significant knowledge of comics, but a passion for the characters of Liefeld's Extreme Studios. According to Liefeld, Silvera had also expressed a commitment during the COVID-19 pandemic to make a Bloodstrike film after his commitments at the time were fulfilled, beginning with the trailer.

On February 5, 2024, Liefeld announced on Twitter that after producing one final Deadpool comic to be published later that year, he was retiring from writing or drawing the character, stating, "I am retiring from Deadpool. It's official. Yup, after 33 years of not only introducing Deadpool but chronicling many of his most popular adventures it's time for the Deadpool Daddy to say farewell. One of the fun parts about getting older is you can retire from things, so here I am." Liefeld cited his age as a reason for his decision, explaining, "In case you are wondering, why now? That's easy, I'll be 57 at the end of this and my eyes are still functioning, the work continues to be strong, I want to go out with the best effort I can muster. The hand-eye coordination won’t be there forever."

Criticism and praise
Liefeld's name has become something of a lightning rod in the industry. In an interview, Brian Michael Bendis described the polarization of opinion on Liefeld: "There is a great dichotomy...There's either some great and generous story about [Liefeld] or you will hear some unbelievable thing like, 'How is he not in jail if he did that?' There is no middle ground."

In interviews, Liefeld has compared himself to other popular figures who experienced meteoric success and acclaim early in their careers but near-pariah status afterwards, such as LeBron James or Britney Spears, who "became vapid in pop music, and perhaps [he] was nothing more than a vapid comic book artist". He seems to credit his success to tapping into the zeitgeist: "I'll be the first to tell you that we [the Image collective] were never the best artists. We were never the best at anything, but just like a song or a band or whatever, we caught on and we toured rigorously."

Liefeld is not without supporters in the industry, including those who defend his art. The A.V. Club says of Liefeld's critics, "Rob Liefeld is the punching bag of choice for many discerning comics fans. But he's also the man who defined what the 1990s looked like in superhero books, so he's crying all the way to the bank. For every detractor who thinks he's the worst thing to happen to comic books since Fredric Wertham, there are a dozen ravenous fanboys ready to snatch up whatever he does next." Writer Jeph Loeb, with whom Liefeld collaborated, and writer Mark Millar are reported to be admirers of his work. Millar in particular wrote the foreword to the 2008 Youngblood collection published by Image Comics, in which he defended that series as an entry in the celebrity superhero subgenre that predated The Authority and X-Statix. Millar also compared critics of Liefeld's layouts and figure work to those who would have criticized Jack Kirby for exhibiting a cartoony style rather than photorealism, and asserted that his own children are avid fans of Liefeld's work in general, and Youngblood in particular. Comics writer Grant Morrison credited the Image creators with "rescuing" American comics, explaining that they responded to children's tastes of the time, and brought comics back to their basic superhero roots following the British Invasion in comics and the popularization of titles typified by Vertigo Comics, of which Morrison themself was a part of. Morrison stated that they are an admirer of Liefeld's work in particular, explaining that while Liefeld's art was regarded as "total crap" in the 1990s, many comic book artists today see it as an avant-garde abstraction of reality that is as bizarre and individual as Vincent van Gogh. In 2012, Rich Johnston of Bleeding Cool said of DC Comics' decision to assign Liefeld the co-scripting and drawing duties on three of their flagging New 52 titles, "Rob does have a habit, of course, of pulling out sales and attention like a rabbit out of a hat."

In 2013, he was named on IGN's list of "The Best Tweeters in Comics" for both his industry insight and his bluntness.

Art style
Liefeld has been criticized for his drawing skill. In a 1996 interview, writer/illustrator Barry Windsor-Smith criticized the depth of work by the popular artists of the 1990s like Liefeld and Jim Lee, and those whom they had influenced (whom he referred to as "the Liefelds and the Lees"), stating "I don't think it has even crossed their minds that comic books can be a medium for intimate self-expression." Speaking of Liefeld in particular, Windsor-Smith said:

"Rob Liefeld has nothing to offer. It's as plain as bacon on your plate. He has nothing to offer. He cannot draw. He can't write. He is a young boy almost, I would expect, whose culture is bubble gum wrappers, Saturday morning cartoons, Marvel Comics; that's his culture... I see nothing in his work that allows me to even guess that there's any depth involved in that person that might come to the fore given time."

Liefeld has also been criticized for designing characters with an improbable profusion of weapons, accessories, and pouches, a tendency that was subject to parody. For example, during Grant Morrison's run on DC Comics' Doom Patrol in the early 1990s, Morrison collaborated with Keith Giffen, Mike Mignola, and Walt Simonson to produce Doom Force Special #1 (July 1992), which "vicious[ly]" mocked Liefeld's work on X-Force.

Artist Alex Ross drew upon his dislike of the design of Liefeld's creation Cable when designing the character Magog for the 1996 miniseries Kingdom Come. Following writer Mark Waid's instructions that the character's appearance be based on aspects of superhero design trends of the time that they disliked, Ross said of Cable, "That's a character that Mark Waid invented that was really just put to me like come up with the most God awful, Rob Liefeld sort of design that you can. What I was stealing from was—really only two key designs of Rob's—the design of Cable. I hated it. I felt like it looked like they just threw up everything on the character—the scars, the thing going on with his eye, the arm, and what's with all the guns?"

Liefeld has also been criticized for drawing figures with exaggerated muscular anatomy, such as long legs and tiny feet, and "bizarre" anatomy on female characters that some critics felt served to objectify women, with critical articles such as "The 40 Worst Rob Liefeld Drawings", "A Gallery of Rob Liefeld's Anatomical Abominations" and "Worst Rob Liefeld Covers" among the top mentions of Liefeld's on Google. One of the most criticized and parodied illustrations was a promotional illustration of Captain America for the 1996 "Heroes Reborn" storyline, which depicted Captain America with "cartoonish proportions", in particular his stomach, arms, and "gaping barrel chest", as Comic Book Resources (CBR) put it. Referred to by Comics Beat as "the most infamous piece of art in comics history," Timothy Donohoo of CBR observed that the artwork "showcases the extreme and many times highly unrealistic anatomy seen in the comics of the era", and came to be viewed as embelmatic of Liefeld's artwork as a whole, one that subsequently became an internet meme. Liefeld poked fun at the matter in 2016, tweeting, "Of course I'm #teamcap. I didn't give him those big tits for nuthin…" He revisited the illustration in September 2023, with a New York Comic Con variant cover for Captain America (Vol 10) #1, depicting the Sam Wilson incarnation of the character in the same pose. Posting the image on Twitter, Liefeld commented, "Had to get something off my chest." In October 2023 the original 1996 artwork was put up for auction with Heritage Auctions,  the second time it had been made so available. On November 17, the final the piece was auctioned for $132,000 USD.

These stylistic elements were seen as the impetus for Liefeld's initial success, when such affectations were unusual in comics, and helped lend such characters to successfully merchandised products. Nonetheless, the approach later became a cliché and led to a widespread hostility towards the style. Liefeld agrees for the most part with this estimation of his early work, saying, "In the mid-90s we Mortal Kombat'ed everything. I'm as guilty as anyone..." Liefeld's friend, Image Comics partner, and The Walking Dead creator, Robert Kirkman, defends Liefeld, saying, "Every figure that Rob draws has a certain energy to it, a certain excitement. Every character Rob drew had seven knives and six guns and shoulder pads and pouches and belts and straps and ammunition. It was an aesthetic that as a kid absolutely blew me away. I idolized the guy...Everything he draws is interesting, whether it's accurate or not. A lot of people look at the way Rob draws the human body and they say, 'That's wrong in my eyes.' I would say that these people have no joy in their souls. It's not like Rob doesn't know what a human body looks like, I think Rob looks at a human body and goes: 'That's boring. I can do better.'"

In addition to his depiction of human anatomy, Liefeld's art has also been criticized in more general terms for use of splash pages in lieu of multi-panel pages depicting more story, and poor design and continuity in elements such as clothing, props, and proper proportions between characters and their environments, with industry columnist Peter David responding to Liefeld's 1996 work on the "Heroes Reborn" Captain America by proclaiming Liefeld the "Ed Wood of comics". Kesel relates:

"Mike Carlin once said of Rob: 'He has it. He just doesn't have it yet.' And I couldn't agree more. Rob is one of the most energetic and charming people I've ever met—you can't help but like him—and at the time of [Liefeld's early work on Hawk and Dove] his work showed great potential. But success came far too quickly and easily to him, and he never felt the need to develop that potential. Which is really too bad, because if he did I'm certain he would have left a very different mark on the industry. Not that things worked out that badly for him..."

Liefeld has stated that such criticism has not bothered him, in part because, at the height of his popularity, he had things outside of his work to focus on, such as the death of his father from cancer in 1999. By the 2010s, he was known to reference this perception of his work in a lighthearted manner: Following the April 2012 release of DC Comics' solicitations for that July, which included Liefeld's covers for The Savage Hawkman #11, Deathstroke #11, and Grifter #11—all of which showed characters' feet—Liefeld, who had been criticized for avoiding drawing characters' feet, commented, "The Hipsters don't know what to do when I draw feet. It confuses them." In Deadpool 2, the character Domino's luck-based powers are disparaged by Deadpool: "Luck? What coked-out, glass pipe-sucking freakshow comic book artist came up with that little chestnut? Probably a guy who can't draw feet!", a reference acknowledged by Liefeld, who has pointed out that many fan favorite artists used mounds of debris or shadows to avoid drawing feet.

Creator credit
At the beginning of Liefeld's run on the New Mutants, the heavily muscled, heavily armed cyborg character Cable was created for the team, and became a popular antihero, although there is dispute over Cable's origin, with conflicting accounts of credit given to Liefeld, Bob Harras, and Louise Simonson for aspects of the character's concept and origin. For a time, Marvel credited only Liefeld and Simonson as Cable's creators within the Cable & Deadpool series. He also was credited as the sole creator of Youngblood, when documentation suggests that Liefeld's longtime friend and collaborator Hank Kanalz co-developed that team with him. Liefeld has also contested sharing creator credit with writer Fabian Nicieza for the character Deadpool. In a 2016 New York Times interview, Liefeld said that he did "all the heavy lifting" in writing and drawing the issue in which that character first appeared, while Nicieza wrote its script, saying, "If a janitor scripted New Mutants 98, he'd be the co-creator — that's how it works, buddy. Deadpool does not exist in any way, shape or form without me. I wrote the stories. Like Jim Lee and others, I worked with a scripter who helped facilitate. I chose Fabian, and he got the benefit of the Rob Liefeld lottery ticket. Those are good coattails to ride." These remarks drew criticism from writers Dan Slott, Mark Waid, and Kurt Busiek, and artist Darick Robertson, who felt that Liefeld was diminishing Nicieza's contributions to the character. Busiek in particular referenced Nicieza's work on Deadpool's signature trait, saying, "Because the success of the Merc With A Mouth clearly has nothing to do with the guy who supplied the mouth." Liefeld later said that he hated the Times article, calling it "a hit piece."

Liefeld has also been accused of swiping, or copying, art from other artists. Liefeld responded to this accusation by stating that in these instances, which he said were limited to ten, he was offering tribute to the artists of the original pieces in question, rather than plagiarizing, and compared this to the work of filmmaker Brian De Palma, who explicitly used the techniques of Alfred Hitchcock. Peter David responded to this rationale by stating that DePalma himself was criticized harshly by film critics for employing Hitchcock's techniques, and that Liefeld, who has identified himself as a "stickler" for credit, did not credit artists whose work he copied, instances of which exceeded the ten upon which Liefeld insisted. David also stated that some of these artists, such as John Byrne and George Pérez, did not react to this practice on Liefeld's part as a "tribute", and expressed displeasure at the degree to which Liefeld relied on their work.

Production and business problems
Liefeld has also gained a reputation for producing late books, primarily his creator-owned ones, though somewhat less so when doing work-for-hire. Some issues of his series Youngblood shipped as much as nine months late. Liefeld has attributed this to the greater incentive a freelancer feels when doing work-for-hire assignments for a company, as opposed to working on one's self-owned work. Creator Bob Layton related he had to fly to Los Angeles and actually sit on Liefeld's doorstep until Liefeld finished penciling his portion of the Deathmate miniseries, which was an intercompany crossover published by Image Comics and Valiant Comics, and that he had to ink the artwork himself in an Anaheim hotel room. Layton stated, "There I was, with my own company to manage, and I was in California, managing someone else's people." Layton cites Deathmate, and Image's inability to produce its half of that series in a timely manner, as the first disaster that heralded the end of the speculator boom of the 1990s, and the eventual demise of Valiant Comics.

Liefeld has been criticized for not returning to Rick Veitch the original artwork that Veitch had produced for Liefeld's Awesome Comics series, Supreme.

Liefeld compared his conflicts with contemporaries McFarlane and Jim Lee to the intra-band conflicts of the Eagles, reflecting in 2007 that his feud with the Image partners was in the past, saying, "The divorce was ugly, but to me it didn't linger....I realized you just need to let it go."

Artwork

 * Amazing Spider-man Annual #23 (1989)
 * X-Factor #40, #52 (cover only), #54 (cover only)
 * Uncanny X-Men #245
 * New Mutants #85 (cover only), #86–91, #92 (cover only), #93–96, #97 (cover only), #98–100, Annual #5, Annual #6 (cover only)
 * X-Force #1–9 (plot & pencils), #10 (plot), #11 (plot & cover), #12–13 (plot)
 * Wolverine vol. 2, #154-155
 * Marvel Comics Presents #52–53, 85–86
 * Captain America vol. 2 #1–6
 * Guardians of the Galaxy #9 (1990) (cover inks)
 * Captain American Cold War Omega #1 (2023) (variant cover art)
 * Cable #71, 73, 75, 77
 * Youngblood and Youngblood: Bloodsport
 * Brigade
 * Armageddon Now
 * Smash
 * Re:Gex
 * Doom's IV
 * Battlestar Galactica #1 (1995) (plotter/cover art)
 * Teen Titans 27–28
 * X-Force vol. 2, #1–6
 * Onslaught Reborn #1–5
 * What If vol. 2, #7
 * Darker Image #1-2 (1993) (plotter/pencils)
 * Deathmate Prologue (1993) (pencils)
 * Fantastic Four Vol 7 #7 (2023) (variant cover)
 * Deadpool #900
 * Deadpool Vol 8 #1 (2022) (cover art)
 * Deadpool Bad Blood #1-4 (2022) (plotter/pencils)
 * Deadpool Badder Blood #1-5 (2023) (plotter/pencils)
 * Deadpool: Seven Slaughters #1 (2023) (story/artwork)
 * Prelude to Deadpool Corps #1 (written by Victor Gischler, five-issue limited series, Marvel Comics, May 2010, 120 pages, premiere hardcover, July 2010, ISBN 0-7851-4752-7)
 * Deadpool Corps #1–9
 * The Infinite #1–6 (August 2011 – January 2012)
 * Grifter #9–12, 0 (cover art)
 * Hawk and Dove #1–5 (1988)
 * Hawk and Dove Annual #1 (1990) (cover art)
 * Hawk and Dove #1–8 (2011–2012)
 * Deathstroke vol. 2, #9–12, #0 (2012–2013) (artist and cover art)
 * The Savage Hawkman #9–12 (cover art)
 * Snake Eyes: Deadgame #1-6 (artist and cover art)
 * Image United #1–3 (2009–2010)
 * Daredevil Vol 7 #12 (2023) (variant cover art)
 * Bishop War College #1 (2023) (variant cover art)
 * Uncanny Avengers Vol 4 #4 (2023) (variant cover art)

Writing

 * Deathstroke vol. 2, #9–12, 0 (writer); 13–14 (plot)
 * Grifter #9–12, 0, 13–14 (plot/co-writer)
 * Avengers vol. 2 #1–7 (plot)
 * Captain America vol. 2 #1–6 (plot)
 * New Mutants #98–100
 * Marvel Comics Presents #52, 53, 99
 * Prophet/Cable #1–2
 * The Savage Hawkman #9–12, 0, 13–15 (plot/co-writer)
 * Snake Eyes: Deadgame #1-6 (plot/co-writer)
 * Wolverine vol. 2, #154–157
 * X-Force #1–12
 * X-Force: Shatterstar #1–4

title: Rob Liefeld


text:
Nikolai Kondratiev

Nikolai Dmitriyevich Kondratiev (also Kondratieff; Russian: Никола́й Дми́триевич Кондра́тьев; 4 March 1892 – 17 September 1938) was a Russian Soviet economist and proponent of the New Economic Policy (NEP) best known for the business cycle theory known as Kondratiev waves.

Kondratiev became an early leading figure of Soviet economics and promoted the NEP's system of small private free market enterprises in the Soviet Union. Kondratiev's theory that Western capitalist economies have long term (50-to-60-year) cycles of boom followed by depression gained recognition inside and outside the Soviet Union.

Kondratiev was condemned and imprisoned in 1930, but continued to work until his execution during the Great Purge in 1938. Some of his work was published, for the first time, posthumously.

Early life and education
Nikolai Dimitrievich Kondratiev was born on 4 March 1892 in the Galuevskaya, a village near Vichuga, Kostroma Governorate, into a peasant family of Komi heritage. Kondratiev was tutored at the University of St. Petersburg before the 1917 Russian Revolution by Mikhail Tugan-Baranovsky and Alexander Sergeyevich Lappo-Danilevsky. A member of the Socialist-Revolutionary Party, his initial professional work was in the area of agricultural economics and statistics and the problem of food supplies. On 5 October 1917, at the age of 25, he was appointed Deputy Minister of Supply of the last Alexander Kerensky government, which lasted for only a few days.

After the revolution, Kondratiev pursued academic research. In 1919, he was appointed to a teaching post at the Agricultural Academy of Peter the Great. In October 1920 he founded the Institute of Conjuncture, in Moscow. As its first director, he developed it into a large and respected institution with 51 researchers by 1923.

In 1922, he published his first writing on long cycles., The World Economy and its Conjunctures During and After the War. To provide proof that capitalist economies were subject to spontaneous and recurrent depressions and recoveries, Kondratiev did extensive price analysis of goods in the German, British, and French economies. Among the prices studied were raw materials and output products, interest rates, foreign trade, wages, and bank deposits.

In 1923, Kondratiev intervened in the debate about the "Scissors Crisis", following the general opinion of his colleagues. In 1923–25, he worked on a five-year plan for the development of Soviet agriculture. In 1924, after publishing his first book, presenting the first tentative version of his theory of major cycles, Kondratiev traveled to England, Germany, Canada and the United States, and visited several universities before returning to Russia..

In his 1924 paper "On the Notion of Economic Statics, Dynamics and Fluctuations", Kondratiev formulated, for the first time, his theory of long business cycles. Specifically, he made the following conclusions: 1. Prosperity years were most common in the capitalist economies during upswing periods. 2. Agriculture suffered more and long depressions than did industry during price downswings 3. Major technological innovations were conceived in downswing periods but were developed in upswing periods 4. Gold supply increased, and new markets were opened at the beginning of an upswing 5. The most extensive and devastating wars occurred during periods of an upswing (Mager, 1987, p. 27)

In 1925 he published his book The Major Economic Cycles, which quickly was translated into German. A short form was published in 1935 in the Review of Economic Statistics and for a time his ideas became popular in the West, until eclipsed by those of John Maynard Keynes.

Kondratiev's economic cycle theory held that there were long cycles of about fifty years. At the beginning of the cycle economies produce high-cost capital goods and infrastructure investments creating new employment and income and demand for consumer goods. However, after a few decades the expected return on investment falls below the interest rate and people refuse to invest, even as overcapacity in capital goods gives rise to massive layoffs, reducing the demand for consumer goods. Unemployment and a long economic crisis ensue as economies contract. People and companies save their resources until confidence begins to return and there is an upswing into a new capital formation period, usually characterized by large scale investment in new technologies.

Joseph Schumpeter credited the foundations of Long Wave Theory to Nikolai Kondratiev. He coined the term "Kondratiev Waves" (K-waves) in respect for Nikolai Kondratiev.

Support of the People's Commissariat
A member of the People's Commissariat of Agriculture and a proponent of the Soviet New Economic Policy (NEP) supported by Vladimir Lenin, Kondratiev was influential with writings about agriculture and planning methodology. Influenced by his trips overseas, he advocated a market-led industrialization strategy emphasizing export of agricultural produce to pay for industrialization, following the Ricardian economics theory of comparative advantage. He proposed a plan for agriculture and forestry from 1924 to 1928. However, after the death of Lenin in 1924, Joseph Stalin, who favored complete government control of the economy, took control of the Communist Party. Kondratiev's influence quickly waned.

According to the late Harvard sociologist Carle C. Zimmerman, Kondratiev was reported to Soviet authorities by a member of the University of Minnesota agriculture faculty in 1927 after a visit to sociologist Pitirim Sorokin:

"Kondratieff (sic), an agricultural economist and student of business cycles, visited Minnesota in 1927 and stayed with Sorokin. A number of prominent American scientists were pro-communist at the time. One was a forester at the Ag campus where I had an office. He upbraided me for associating with Sorokin and Kondratieff and told me he was going to send a report about Kondratieff back to Russia. Later I learned that Kondratieff was arrested immediately after returning to Russia from the trip to see American universities. However, he was not given the final 'treatment' until the Stalinist purges of 1931."

Fall from USSR directorship
Kondratiev was removed from the directorship of the Institute of Conjuncture in 1928 and arrested in July 1930, accused of being a member of a "" (a non-existent party invented by the NKVD). Convicted as a "kulak-professor" and sentenced to 8 years in prison, Kondratiev served his sentence, from February 1932 onwards, at Suzdal, near Moscow. Although his health deteriorated under poor conditions, Kondratiev continued his research and decided to prepare five new books, as he mentioned in a letter to his wife. Some of these texts were indeed completed and were published posthumously.

His last letter was sent to his daughter, Elena Kondratieva, on 31 August 1938. In September 1938, during Stalin's Great Purge, he was tried, sentenced to death, and executed on the same day at the Kommunarka shooting ground. His relatives were informed that he was condemned to "ten years without the right to correspond with the outside world". He was 46 at the time of the execution.

Legacy
In the 1970s, increased interest in business cycles led to the rediscovery of Kondratiev's work, including the first-time publication of a complete English translation of his seminal article "The Long Waves in Economic Life" in the journal Review (Fernand Braudel Center) in 1979 (the article was originally published in a German journal in 1926 and a partial English translation appeared in the journal The Review of Economic Statistics in 1935). This rediscovery of Kondratiev in English-speaking academia led to his theories being extended for the first time beyond economics as, for example, political scientists such as Joshua Goldstein and geographers such as Brian Berry extended the concept of Kondratiev long waves into their own fields. However, Kondratiev's theory remains controversial because, among other issues, of his ideas about the periodical character of the replacement of basic capital goods and the empirical possibility of coincidence in identifying long waves (i.e. that long waves are simply an epiphenomenon). Economists disagree about the length of cycles and their starting or ending points.

In 1987, the Soviet authorities officially rehabilitated Kondratiev. His collected works were first translated into English by Stephen S. Wilson in 1998. In 1992, on the centenary of his birth, the International Foundation N.A. Kondratiev was founded at the hands of Russian academics, Elena Kondratieva and Italian economist Giancarlo Pallavicini, at the time the first Western advisor to the Russian government for the reform of the economy, appointed vice president, along with Yurji Jacovetz, and Leonid Abalkin president

Major works

 * 1922 – The Grain Market
 * 1922 – The World Economy and its Conjunctures During and After the War
 * 1923 – "Some Controversial Questions Concerning the World Economy and Crisis (Answer to Our Critiques)"
 * 1924 – "On the Notion of Economic Statics, Dynamics and Fluctuations"
 * 1925 – The Major Economic Cycles
 * English version
 * 1926a – "About the Question of the Major Cycles of the Conjuncture"
 * 1926b – "Problems of Forecasting"
 * 1926c – "Die langen Wellen der Konjunktur" (translated into English as "The Long Waves in Economic Life" in 1935/1979)
 * 1928a – The Major Cycles of the Conjuncture
 * 1928b – "Dynamics of Industrial and Agricultural Prices (Contribution to the Theory of Relative Dynamics and Conjuncture)"
 * 1934 – "Main Problems of Economic Statics and Dynamics"

title: Nikolai Kondratiev


text:
Talk:USENIX

Threatening letter
From the article:
 * ''"The name change to Usenix was in reaction to a threatening letter from Western Electric."

This needs to be explained or left out. Anyone? --Gosub 13:11, 19 March 2006 (UTC)

Mike Jones
I named Mike Jones differently in the 2002-2004 section vs. 2004-2006 section because that's how he's named on the USENIX website (i.e., differently for the two terms). TreyHarris 01:36, 25 May 2004 (UTC)

Technical Association or Systems Association
This articled defines USENIX as the 'Advanced Computing Technical Association' however under the masthead the fine print reads 'Advanced Computing Systems Association'. Which is correct here?

(kyle)

Identifying names in the photo option
I saw the caption asking for names. Well the most obvious person is Dennis Ritchie standing in the center with glasses. This is the summer'84 meeting at Salt Lake City, UT (hence the snow and summer). Not all speakers, I wasn't there (off hiking), and I ran a BOF (Dennis was there) and gave a last minute talk at the request of Jay (and Spencer) on high speed networking. 198.123.49.110 (talk) 18:24, 27 May 2010 (UTC)

SIGs
Is there a list of past and current SIGs? It seems there is no information about them even on the official web site. Or do SIGs equal to their Conferences? I think since SIGs are mentioned in the article (and hardly ever on the official site), this info would be useful here. --C. 11:41, 3 August 2011 (UTC) — Preceding unsigned comment added by 193.174.13.198 (talk)

title: Talk:USENIX


text:
User talk:Io usurped

ArbCom elections are now open!
Hi, You appear to be eligible to vote in the current Arbitration Committee election. The Arbitration Committee is the panel of editors responsible for conducting the Wikipedia arbitration process. It has the authority to enact binding solutions for disputes between editors, primarily related to serious behavioural issues that the community has been unable to resolve. This includes the ability to impose site bans, topic bans, editing restrictions, and other measures needed to maintain our editing environment. The arbitration policy describes the Committee's roles and responsibilities in greater detail. If you wish to participate, you are welcome to review the candidates' statements and submit your choices on the voting page. For the Election committee, MediaWiki message delivery (talk) 22:16, 30 November 2015 (UTC)

title: User talk:Io usurped


text:
James Jesus Angleton

James Jesus Angleton (December 9, 1917 – May 11, 1987) was an American intelligence operative who served as chief of the counterintelligence department of the Central Intelligence Agency from 1954 to 1975. According to Director of Central Intelligence Richard Helms, Angleton was "recognized as the dominant counterintelligence figure in the non-communist world".

Angleton served in the Office of Strategic Services, a wartime predecessor to the CIA, in Italy and London during World War II. After the war, he returned to Washington, D.C. to become one of the founding officers of the CIA. He was initially responsible for the collection of foreign intelligence and liaison with counterpart organizations in allied countries. In 1954, Allen Dulles promoted Angleton to chief of the Counterintelligence Staff. As chief, Angleton was significantly involved in the defection of Soviet KGB agents Anatoliy Golitsyn and Yuri Nosenko. Through Golitsyn, Angleton became convinced the CIA harbored a high-ranking Soviet mole and engaged in an intensive search. Whether this was a highly destructive witch hunt or appropriate caution remains a subject of intense historical debate.

Investigative journalist Edward Jay Epstein agrees with the high regard in which Angleton was held by his colleagues in the intelligence business, and adds that Angleton earned the "trust of six CIA directors—including Gen. Walter Bedell Smith, Allen W. Dulles and Richard Helms. They kept Angleton in key positions and valued his work."

Early and personal life
James Jesus Angleton was born December 9, 1917, in Boise, Idaho, the eldest of four children of James Hugh Angleton (1888–1973) and Carmen Mercedes Moreno (1898–1985). His parents met in Nogales, Arizona, while his father was a U.S. Army cavalry officer serving under General John Pershing. Carmen Moreno was born in Mexico but was already a naturalized American citizen before she married James H. Angleton in December 1916.

James Hugh Angleton joined the National Cash Register Corporation, rising through its ranks until in the early 1930s he purchased the NCR franchise in Italy. In Italy, he became head of the American Chamber of Commerce.

Angleton's boyhood was spent in Milan, Italy. He studied as a boarder at Malvern College in England before attending Yale University. As a Yale undergraduate, Angleton edited the Yale literary magazine Furioso with Reed Whittemore. Furioso published many of the best-known poets of the interwar period, including William Carlos Williams, E. E. Cummings and Ezra Pound. Angleton carried on an extensive correspondence with Pound, Cummings and T. S. Eliot, among others, and was particularly influenced by William Empson, author of Seven Types of Ambiguity. Angleton was trained in the New Criticism at Yale by Maynard Mack and others, chiefly Norman Holmes Pearson, a founder of American Studies. He briefly studied law at Harvard, but did not graduate.

World War II
In 1943, Angleton joined the U.S. Army. During World War II, Angleton served in the Office of Strategic Services (OSS) and led its Italian branch. He also served in London under Norman Holmes Pearson in the X-2 Counter Espionage Branch of the OSS. By February 1944, he was chief of the Italy desk for X-2 in London. While in London, Angleton met the famous double agent Kim Philby. In November 1944, Angleton was transferred to Italy as commander of Secret Counterintelligence Unit Z, which handled Ultra intelligence based on the British intercepts of German radio communications.

By the end of the war, Angleton was head of X-2 for all of Italy. In this position, Angleton helped prevent the execution of Italian naval commander Junio Valerio Borghese, whose elite unit Decima MAS had collaborated with the Schutzstaffel during the war. Angleton was interested in the defense of installations such as ports and bridges and offered Borghese a fair trial in return for his collaboration. He dressed him up in an American uniform and drove him from Milan to Rome for interrogation by the Allies. Borghese was then tried and convicted by an Italian court of collaboration with the Nazi invaders but not of war crimes.

Angleton remained in Italy after the war, establishing connections with other intelligence services and playing a major role in the 1948 Italian general election. The election was won by the US-backed Christian Democratic Party over the Soviet-backed Italian Communist Party. Angleton's tour in Italy as an intelligence officer is regarded by biographer Jefferson Morley as a critical turn not only in his professional life. His personal liaisons with Italian Mafia figures helped the CIA in the immediate postwar period.

Central Intelligence Agency
Upon his return to Washington after World War II, Angleton was employed by the various successor organizations to the OSS and eventually became one of the founding officers of the Central Intelligence Agency in 1947.

In May 1949, he was made head of Staff A of the Office of Special Operations, where he was responsible for the collection of foreign intelligence and liaising with counterpart intelligence organizations in foreign countries.

Beginning in 1951, Angleton was responsible for "the Israel desk" as liaison with Israel's Mossad and Shin Bet agencies. Angleton retained an active interest in Israeli intelligence and maintained connections there throughout his career, believing that émigrés to Israel from the Soviet Union and Warsaw Pact nations could be a valuable source of information on their countries of origin. He also believed that Israeli foreign intelligence services could be used for proxy operations in third countries. For instance, Shin Bet was crucial in obtaining a transcript of Nikita Khrushchev's 1956 speech to the Communist Party of the Soviet Union Congress that denounced Joseph Stalin. Author Samuel Katz has claimed that Angleton directed CIA assistance to the Israeli nuclear weapons program. As head of Staff A, Angleton worked particularly closely with Kim Philby, the apparent future head of MI6, who was also in Washington. In 1951, Philby's colleagues Guy Burgess and Donald Maclean defected to Moscow. Philby was expelled from Washington, suspected of having tipped them off based on decoded Soviet communications from the Venona project. Philby was confirmed to be a Soviet mole but eluded those sent to arrest him. He defected to Moscow in 1963. Philby called Angleton "a brilliant opponent" and a "fascinating" friend who seemed to be "catching on" before his defection. CIA employee William King Harvey, a former FBI agent, had voiced his suspicions regarding Philby and others Angleton suspected were Soviet agents.

In 1953, Allen Dulles became Director of Central Intelligence. He soon named Angleton chief of the Counterintelligence Staff, in which position Angleton served for the remainder of his career. Dulles also assigned Angleton responsibility for coordination with allied intelligence services.

As chief of Counterintelligence, Angleton oversaw a ring of informants organized by Jay Lovestone, a trade union leader and former head of the Communist Party of the United States. It was informally called the "Lovestone Empire". Lovestone worked with foreign unions and used covert funds to establish a global system of anti-communist union organizers.

During the Vietnam War and Soviet-American détente, Angleton remained convinced of the necessity of the war. During this period, Angleton's counter-intelligence staff undertook a most comprehensive domestic covert surveillance project (called Operation CHAOS) under the direction of President Lyndon Johnson. The prevailing belief at the time was that the anti-war and civil rights movements of the 1960s and 1970s had foreign funding and support. None was found by them, although the Soviet Union did influence the movements.

Angleton also believed that the strategic calculations underlying the resumption of relations with China were flawed based on a deceptive KGB staging of the Sino-Soviet split. He went so far as to speculate that Henry Kissinger might be under KGB influence.

Suspicion of infiltration
Angleton held a general belief that all secret intelligence agencies should be assumed to be penetrated by others, or at least that a reasonable chief of counterintelligence should assume so. Angleton's view was influenced by his direct experience with the manipulation of German intelligence during World War II, the Cambridge Five, and the success of American infiltration efforts in the Third World. In particular, Angleton's close association with Philby heightened Angleton's suspicions and led him to double-check "potential problems". Angleton's position in the CIA and his close relationship with Director Richard Helms in particular expanded his influence, and as it grew, the CIA split between Angletonians and anti-Angletonians. This conflict rose in particular regard to Anatoliy Golitsyn and Yuri Nosenko, who defected from the Soviet Union to the United States in 1961 and 1964, respectively.

Golitsyn defected via Helsinki on December 15, 1961. He and his family flew with a CIA escort to Sweden and then to the United States, where he was interviewed by Angleton personally. Golitsyn limited his initial debriefing to a review of photographs to identify KGB officers and refused to discuss KGB strategy. After Golitsyn raised the possibility of serious infiltration with MI5 in a subsequent debriefing, MI5 shared the concern with Angleton. He responded by asking Helms to allow him to take responsibility for Golitsyn and his further debriefing. Golitsyn ultimately informed on many famous Soviet agents, including the Cambridge Five, which led to their apprehension. Angleton identified Golitsyn as "the most valuable defector ever to reach the West".

However, other allegations Golitsyn made, including that Prime Minister of the United Kingdom Harold Wilson was a Soviet agent and that the Sino-Soviet split was a "charade," were ultimately found to be false. Golitsyn also claimed that a mole who had been stationed in West Germany, was of Slavic descent, had a last name that might end in "sky" and definitely began with a "K", and operated under the KGB codename "Sasha". Angleton believed this claim, with the result that anyone who approximated this description fell under his suspicion.

Angleton became increasingly convinced that the CIA was compromised by the KGB. Golitsyn convinced Angleton that the KGB had reorganized in 1958 and 1959 to consist mostly of a shell, incorporating only those agents whom the CIA and the FBI were recruiting, directed by a small cabal of puppet masters who doubled those agents to manipulate their Western counterparts. Although Golitsyn was a questionable source, Angleton accepted significant information obtained from his debriefing by the CIA.

In 1964, Yuri Nosenko, a KGB officer based in Geneva, insisted he needed to defect to the United States, as his role as a double agent had been discovered, and he was being recalled to Moscow. Nosenko was allowed to defect, although the CIA was unable to verify a KGB recall order. Golitsyn had said from the beginning that the KGB would try to plant defectors in an effort to discredit him. Under great duress, Nosenko failed two highly questionable lie detector tests but passed a third test monitored by several Agency departments. Judging his claim (as well as additional claims regarding Lee Harvey Oswald) improbable, Angleton permitted David Murphy, head of the Soviet Russia Division, to hold Nosenko in solitary confinement for over three years. This confinement included 16 months in a small attic with no windows, furniture, heat or air conditioning. Human contact was completely banned. Nosenko was given a shower once a week and had no television, reading material, radio, exercise, or toothbrush. Interrogations were frequent and intensive. Nosenko spent an additional four months in a ten-foot by ten-foot concrete bunker in Camp Peary. He was told that this condition would continue for 25 years unless he confessed to being a Soviet spy. Nosenko did not appear to have shaken Angleton's faith in Golitsyn, although Helms and J. Edgar Hoover thought otherwise. Hoover's objections are said to have been so vehement as to severely curtail counterintelligence cooperation between the FBI and CIA for the remainder of Hoover's service as FBI director. Nosenko was found to be a legitimate defector, a lieutenant colonel. He became a consultant to the CIA. Golitsyn, who had defected years before, was unable to provide concrete support for his views of the KGB.

Angleton came into increasing conflict with the rest of the Agency, particularly the Directorate of Operations, over the efficacy of their intelligence-gathering efforts. He questioned this without explaining his broader views on KGB strategy and organization.

In his 2022 book, Uncovering Popov's Mole, researcher John M. Newman argues that Bruce Solie of the Office of Security was very probably the mole and that he misled Angleton, his protégé, into believing the traitor was in the Soviet Russia Division.

Suspicion of foreign leaders
Throughout the 1960s and 1970s, Angleton privately accused various foreign leaders of being Soviet spies. He twice informed the Royal Canadian Mounted Police that he believed Prime Minister Lester Pearson and his successor Pierre Trudeau were agents of the Soviet Union. Angleton accused Swedish Prime Minister Olof Palme, West German Chancellor Willy Brandt, and British Prime Minister Harold Wilson of being assets for the Soviet Union.

Australian journalist Brian Toohey claimed that Angleton considered Australian Prime Minister Gough Whitlam a "serious threat" to the US. Angleton was concerned after the Commonwealth police raided ASIO headquarters in Melbourne in 1973 at the direction of Attorney General Lionel Murphy. In 1974, Angleton sought to instigate the removal of Whitlam from office by having CIA station chief in Canberra, John Walker, ask Peter Barbour, then head of ASIO, to make a false declaration that Whitlam had lied about the raid in Parliament. Barbour refused to make the statement.

Church Committee and resignation
In 1973, William Colby was named Director of Central Intelligence by Richard Nixon. Colby reorganized the CIA in an effort to curb Angleton's influence and weaken the Counterintelligence branch, beginning by stripping him of control over the Israel desk. Colby demanded Angleton's resignation.

Angleton came to public attention when the Church Committee (formally the Senate Select Committee to Study Governmental Operations with Respect to Intelligence Activities) probed the CIA for information on domestic surveillance, specifically the operation known as HT Lingual, as well as assassination plots and the death of John F. Kennedy.

In December 1974, Seymour Hersh published a story in The New York Times about domestic counter-intelligence activities against anti-war protesters and other domestic dissidents. Angleton's resignation was announced on Christmas Eve 1974, just as President Gerald Ford demanded Director Colby report on the allegations and various Congressional committees announced that they would launch their own inquiries. Angleton told reporters from United Press International that he was resigning because "my usefulness has ended" and the CIA was getting involved in "police state activities". Three of Angleton's senior aides retired within a week after it was made clear that they would be transferred elsewhere in the Agency rather than promoted. The Counterintelligence staff was reduced from 300 to 80 people.

In 1975, Angleton was awarded the CIA's Distinguished Intelligence Medal. By this time, Angleton had been quietly rehired by the CIA at his old salary through a secret contract. Until September 1975, "operational issues remained solely the preserve of Angleton".

Aftermath
The late 1970s were generally a period of upheaval for the CIA. During George H. W. Bush's tenure as Director, President Ford authorized the creation of Team B, a project concluding that the Agency and the intelligence community had seriously underestimated Soviet strategic nuclear strength in Central Europe. Admiral Stansfield Turner, on his appointment as DCI by President Jimmy Carter in 1977, used Angleton as an example of the excesses in the Agency that he hoped to curb. He referred to this during his service and in his memoirs.

Because of their suspicions, Angleton and his staff ultimately impeded the career advancement of numerous CIA employees. Forty employees are said to have been investigated and fourteen were considered serious suspects by Angleton's staff. The CIA paid compensation to three under what Agency employees termed the "Mole Relief Act".

With Golitsyn, Angleton continued to seek out moles. They sought the assistance of William F. Buckley, Jr. (himself a former CIA asset) to write New Lies for Old, which argued that the Soviet Union planned to fake a collapse to lull its enemies into a false sense of victory, but Buckley refused. In his 1994 book Wedge: The Secret War between the FBI and CIA, author Mark Riebling claimed that of 194 predictions made in New Lies For Old, 139 had been fulfilled by 1993, nine seemed "clearly wrong", and the other 46 were "not soon falsifiable".

Personal life and death
In July 1943, shortly after he enlisted in the Army, Angleton married Cicely Harriet d'Autremont, a Vassar alumna from Tucson, Arizona. Together, they had three children:

 * James C. Angleton;
 * Guru Sangat Kaur Khalsa (formerly Truffy Angleton); and
 * Siri Hari Kaur Angleton-Khalsa (formerly Lucy d'Autremont Angleton)

The Angletons lived in the Rock Spring neighborhood of Arlington, Virginia until Angleton's death. The Angletons developed a varied social set in Washington, including professional acquaintances in intelligence, poets, painters and journalists.

Angleton's wife and his daughters explored Sikhism, and both of Angleton's daughters became followers of Harbhajan Singh Khalsa.

Angleton died from cancer in Washington, D.C., on 11 May 1987.

Legacy
Angleton's responsibilities as chief of Counterintelligence have given rise to a considerable literature focused on his efforts to identify Soviet or Eastern Bloc agents working in American secret intelligence agencies.

In time, Angleton's zeal and suspicions came to be regarded as counterproductive, if not destructive. In the wake of his departure, counterintelligence efforts were undertaken with far less enthusiasm. Some believe this overcompensation was responsible for oversights which allowed Aldrich Ames, Robert Hanssen and others to compromise American intelligence agencies after Angleton's resignation. Although the American intelligence community quickly recovered from the Church Committee, it found itself uncharacteristically incapable of policing itself after Angleton's departure. Edward Jay Epstein has argued that the positions of Ames and Hanssen—both well-placed Soviet counter-intelligence agents, in the CIA and FBI respectively—would enable the KGB to deceive the American intelligence community, in the manner that Angleton hypothesized.

Despite misgivings over his uncompromising and often obsessive approach to his profession, Angleton is highly regarded by a number of his peers in the intelligence business. Former Shin Bet chief Amos Manor, in an interview in Ha'aretz, revealed his fascination with the man during Angleton's work to forge the U.S.–Israel liaison in the early 1950s. Manor described Angleton as "fanatic about everything", with a "tendency towards mystification". Manor discovered decades later that the real reason for Angleton's visit was to investigate Manor, being an Eastern European Jewish immigrant, for Angleton thought that it would be prudent to "sanitize" the U.S.–Israeli bridge before a more formal intelligence relationship was established.

Three books dealing with Angleton take foreign intelligence activities, counterintelligence and domestic intelligence activities as their central theme: Tom Mangold's Cold Warrior, David C. Martin's Wilderness of Mirrors, and David Wise's Molehunt. Tim Weiner's Legacy of Ashes paints Angleton as an incompetent alcoholic.

These views have been challenged by Tennent H. Bagley in his 2007 book, Spy Wars, and Mark Riebling in his 1994 book, Wedge. John M. Newman, in his 2022 book, Uncovering Popov's Mole, characterizes Angleton as a man lacking self-confidence and who required a father figure. Newman claims that Angleton was duped by at least two KGB moles: Kim Philby in MI6 and Bruce Solie in the Office of Security. Newman also suggests that Leonard V. McCoy in the Soviet Russia Division's Reports & Requirements section may have been a mole.

CIA Family Jewels
A set of highly sensitive Agency documents, referred to as the "Family Jewels," was publicly released on June 25, 2007, after more than three decades of secrecy. The release was prompted by an internal CIA investigation of the 1970s Church Committee which verified the far-ranging power and influence that Angleton wielded during his long tenure as counter-intelligence czar. The exposé revealed that Angleton-planned infiltration of law enforcement and military organizations in other countries was used to increase the influence of the United States. It also confirmed past rumors that it was Angleton who was in charge of the domestic spying activities of the CIA under Operation CHAOS.

In popular culture

 * The 2006 film The Good Shepherd is loosely based on Angleton's life and his role in the formation of the CIA.
 * The Laundry Files by Charles Stross features a senior Laundry agent whose nom de guerre is James Angleton.
 * The 2002 novel The Company by Robert Littell—and the 2007 television mini-series The Company based on it, with Angleton portrayed by Michael Keaton—is focused on Angleton's efforts to find a Soviet mole.
 * Angleton was portrayed by John Light in the 2003 BBC TV mini-series Cambridge Spies.
 * The song "Angleton" by Russian indie rock band Biting Elbows is about Angleton's life and career.
 * In the television series Granite Flats the actor Cary Elwes plays Hugh Ashmead, the name "Ashmead" being the cover name for Angleton.
 * William F. Buckley's 2000 novel Spytime: The Undoing of James Jesus Angleton is a fictionalized treatment of Angleton's career, a storyline being placed upon, between and within actual historic facts and events.
 * Mike Doughty released a song entitled "James Jesus Angleton" on Apple Music in December 2017.
 * The Fatima Mansions track "Brunceling's song" mentions Angleton by name, in a narrative involving spies adapting to regular life.
 * In the 1991 Norman Mailer novel Harlot's Ghost, Tremont Montague (Harlot) is based on Angleton.
 * The fourth season of the television series Le Bureau des Légendes introduces a character from the French external security service (DGSE) with the nickname of "JJA" - James Jesus Angleton. There is a short discussion of Angleton's career and its connection to this character.
 * Angleton was portrayed by Stephen Kunken in the 2022 ITVX mini-series A Spy Among Friends about the defection of Kim Philby.
 * In 2016, he was portrayed by Anthony Brophy in The Crown.
 * In the HBO Max miniseries White House Plumbers, Angleton is portrayed by David Pasquesi.

title: James Jesus Angleton