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House Party 3

House Party 3 is a 1994 American comedy film, starring Kid 'n Play, Bernie Mac, Gilbert Gottfried, TLC, Immature, Michael Colyar, and introducing Angela Means in her film debut as Veda Pratt with a special appearance by Tisha Campbell. It is the third installment of the House Party film series. This was intended to be the last film in the franchise, ending it as a trilogy, but a stand-alone direct to video sequel, House Party 4: Down to the Last Minute, was released seven years later. This is also Chris Tucker's debut on film as well as the first film in the series that Martin Lawrence does not reprise his role as Bilal, nor was he mentioned. Also absent in House Party 3 are three of the members of the R&B group Full Force, who played the bullies in the first two films.

Plot
Christopher, a.k.a. Kid is marrying his girlfriend Veda Pratt, while his best friend Peter, a.k.a. Play is dipping his fingers into the music business and attempting to manage a roughneck female rap act called Sex as a Weapon. Play books the ladies for a concert with heavy-hitting promoter Showboat, but when they decide to fire Play and hire a new manager, he has to figure out how to deliver them to the show or face the wrath of Showboat's female security force.

Things eventually begin to spiral out of control for the two, as Play is also planning the bachelor party while trying to keep Kid's three younger cousins from Detroit (who ironically call themselves Immature) in line, and Kid's ex-girlfriend Sydney has come back to town, which is news that doesn't please Veda at all. To complicate matters more Kid's cousins hijack his bachelor party in retaliation for not letting them perform at it (moving it from the rented hotel ballroom to their Aunt Lucy's house).The party at the ballroom is a bust as Play's cousin Stinky invites very obese women to the party (he's attracted to heavyset women). Meanwhile, Showboat has been out looking for Kid & Play for his money but gets sidetracked briefly by Kid's mischievous cousins.

Embarrassed by the poor turnout at his party, Kid bails into the corridor and runs into Sydney (who is there for her grandparents' anniversary party). Sydney congratulates Kid and tells him that Veda is good for him. As they hug and part ways, Veda comes out of the elevator and sees them hugging. She immediately jumps to the conclusion that Kid slept with her only for her Cousin Janelle (who had been dogging Kid and the pending marriage throughout the film) comes to his defense and tell Veda she is wrong to assume Kid cheated. At the same time, Play (who also disagreed with Kid getting married) tells Kid he is wrong for wanting to break off the marriage since he's convinced Veda doesn't trust him.

After Kid and Veda make up they get a phone call from his Uncle Vester about the party Immature is throwing and head back to his Aunt Lucy's house to find an out of control party in progress (unbeknownst to Aunt Lucy who was up in her room). Just as Kid starts to curse his cousins out, Play stops him and convinces him to celebrate his bachelor party here. At that moment, Showboat arrives with his female hitmen and are about to attack Kid & Play when he hears Kid's cousins performing at the party. Kid picks up on this and immediately informs Showboat that they were a new act he and Play were working on. Sex as a Weapon arrives and tells Showboat that they didn't like what was done to the three blind rappers earlier in the film (they were stiffed on the pay for a show), so they opted to come back to Kid & Play giving Showboat two new acts instead of just one.

Showboat pays up and everything is seemingly coming back into their control. Even Immature knows how much of an irritation they were so in that resolve they opt to give Kid half of the cash from the party. This cash, however is taken by Aunt Lucy who revealed that she knew all along that there was a party going on and that the money would be just enough to clean her house after it was over. After the drama has settled, Kid & Play enjoy the party and perform one last time together rapping to the crowd along with Sex as A Weapon.

The next day Kid and Veda finally tie the knot. Play gifts Kid with a brand new Jeep, telling him that their production company is going to be huge. He accepts the Jeep as he and Veda ride off into the sunset.

Soundtrack
A soundtrack containing hip hop and R&B music was released in January 1994 by Select Records. It peaked at 55 on the Top R&B/Hip-Hop Albums. The soundtrack is notable for containing the last original material released by the film's stars, Kid 'n Play.

Box office
The film opened on Wednesday, January 12, 1994 in 848 theaters and despite the poor reviews and low expectations, finished third at the US box office over the Martin Luther King Jr. Day weekend with a 4-day weekend gross of $6,850,010, exceeding the openings of the first two films. It went on to gross $19,281,235 in the United States and Canada

Critical response
The film had lackluster reviews. Rotten Tomatoes gives the film 0% score based on reviews from 10 critics.

Year-end lists

 * Dishonorable mention – Dan Craft, The Pantagraph

Sequels
In 2001 House Party 4: Down to the Last Minute was released direct to video, however it serves as a standalone film as no characters, cast and crew members from the previous installments were in the film. 12 years later in 2013, a fifth installment in the series, titled House Party: Tonight's the Night, was released by Warner Premiere in 2013 and serves as a direct sequel to House Party 3, unrelated to the events of House Party 4 and features the return of Kid 'n Play, reprising their roles from the first three films.

title: House Party 3


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Sultan Alam Shah School

Sekolah Sultan Alam Shah or simply Alam Shah (abbreviated as SAS) is a fully residential school situated in Putrajaya, Malaysia. Sekolah Sultan Alam Shah is one of the schools in the country awarded with the title High Performance School and in 2014 was entitled as one of the 10 Schools of Global Excellence (SGE) by the Ministry of Education due to its academic merits, co-curricular achievements, strength of its alumnus, international recognition, broad network and vast linkages. The school is under the royal patronage of the Sultan of Selangor.

History
Establishment Sekolah Sultan Alam Shah was introduced as a result of the Razak Report drafted in 1956, in line with the efforts of reforming the education system in the Federation of Malaya. It began its operations on 7 February 1963 and was launched by the late Sultan of Selangor, Sultan Salahudin Abdul Aziz. During its inception, SAS became the first secondary Malay school in Malaya to enroll a batch of Form 6 students, which gave the opportunity for Malay students from the middle-class to further their studies both locally and abroad. The old school campus was located at Bandar Tun Razak, Cheras, Kuala Lumpur.

Its first enrolment oversaw the intake of Form 4, Form 5 and Form 6 male students, as well as 8 female students in Lower Form 6. The trend of female intakes ended in 1974 as Sekolah Seri Puteri (SSP) had opened and started enrolling female students. During the same year, SAS started enrolling Form 1 students. SAS had also enrolled matriculation students from National University of Malaysia (UKM) from 1975 to 1998.

Moving to Putrajaya

The idea of moving SAS from Cheras to Putrajaya had sparked from the aspiration of the fourth Prime Minister, Tun Dr Mahathir Mohamad to have an elite world-class school located in Malaysia's new administrative capital, Putrajaya. The meeting between Mahathir and the former Secretary General of the Ministry of Finance, Samsudin Hitam had led to the realisation of this idea. A 24-hectare land was approved as the site for SAS’ new campus. Construction works started in early 2001, and ended on 2003. At the size of 142000 m2, the overall cost amounted to RM 54 million, which was considered the most expensive SBP ever built in Malaysia. The school gradually shifted from the Cheras campus to Putrajaya to make way for the oncoming opening ceremony.

On 25 April 2003, a total of 652 students migrated to the new campus. On 24 March 2006, the opening ceremony of the new campus were inaugurated by the current Sultan of Selangor, Sultan Sharafuddin Idris Shah, who also bestowed the name Sekolah Sultan Alam Shah to the school, which was based on the name of his grandfather, Sultan Hisamuddin Alam Shah. A year later, on 30 March 2007, SAS was granted the title Cluster School of Excellence (Malay: Sekolah Kluster Kecemerlangan) by the former Minister of Education, Dato’ Sri Hishamuddin Hussin. SAS was also named as a High Performance School (Malay: Sekolah Berprestasi Tinggi) on 25 January 2011.

On 7 February 2013, exactly 50 years after the establishment of SAS, the school celebrated its Golden Jubilee launched by Aseh Che Mat, President of Putrajaya Corporation who is also an alumnus of the school. The celebration was visited by the sixth Prime Minister, Dato Seri Najib Abdul Razak, who donated RM1 million to the school at the time of celebration, former Deputy Minister of Education Dr Mohd Puad Zarkashi and former Director General of Education Tan Sri Ghafar Mahmud. The celebration included a gala night, marching formations, performance by multiple groups such as Alam Shah Wind Orchestra (ASWO) and Gamelan Tradisional SAS (GATRASAS), as well as gallery walks relating to the history and performance of the school. The celebration also oversaw the participation of international visitors.

Motto and Identity
Motto

SAS’ main motto is enshrined on its blazonry, which is ‘Chita, Usaha, Jaya’ (Aspire, Strive and Succeed). Other mottos include ‘SAS: Good to Great, Great to Exceptional’.

Blazonry

The logo consists of a red “Old French” escutcheon (shield) with yellow per bend sinister motive. A blue circle with the crescent and the 14-pointed Federal Star (Bintang Persekutuan) is located in the middle of the shield. Above the circle lies a glaring red flame of a torch. Below the circle, an opened book is placed. Located below the book is a small blue banderole bearing the motto of the school ‘Chita Usaha Jaya’.

Below the shield, a simple black compartment is added and a blue banderole containing the words “Sultan Alam Shah Putrajaya”, denoting the school's name, is included.

Each element bears their own meaning, which include:
 * Torch – Education and Support
 * Book – Knowledge
 * Star and Crescent – The Country, Islam and the National Principles (Rukun Negara)
 * Yellow – Cautious
 * Blue – Calmness
 * White – Pureness
 * Red – Bravery

Flag

The flag is a simple dark blue field with the school's blazonry in the middle. The blue field represents unity and calmness, while the middle position of the blazonry indicates the thorough acceptance of education.

Official Anthem

The official anthem for SAS is ‘Alam Shah Jaya’ (English: Victorious Alam Shah). It was composed and lyricised by Oscar H. Batoebara, an Indonesian teacher.

Organisation
List of Principals

Co-curricular Activities
Rugby

The school rugby team is one of the pioneers in Malaysian youth and grassroots rugby which had successfully produced many accomplished rugby players nationwide. The school team participated in the Super Six Schools Rugby Tournament. The tournament is held among traditional rivals of the game which made up of the best rugby playing schools in Malaysia – Malay College Kuala Kangsar (MCKK), Sekolah Tuanku Abd Rahman (STAR) Ipoh, Sekolah Dato Abd Razak (SDAR) in Seremban, Sekolah Sultan Alam Shah (SAS) in Putrajaya, Sekolah Menengah Sains Selangor (SMSS) and Sekolah Menengah Sains Hulu Selangor (SEMASHUR).

Notable alumni

 * Norian Mai, 6th Inspector-General of Police (Malaysia)
 * Malique, Composer
 * Pkharuddin Ghazali, 19th Director General of Education (Malaysia)
 * Isham Jalil, Politician, former Umno Information Chief

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

title: Sultan Alam Shah School


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Wikipedia:Articles for deletion/Sachin Kadam

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was DELETE. dbenbenn | talk 20:26, 18 Feb 2005 (UTC)

Sachin Kadam
I came across this page on December 6, and posted a note that it might be a VfD candidate on the talk page. Since then, no one has responded to the comments, so I felt that a VfDing was appropriate. "Sachin Kadam" returns 60 google hits, all of them, IMHO, not notable. However, my opinion isn't set in stone, and I recognise that most non-English-speaking people (as Mr/Ms Kadam may be) cannot always be guaged in notability from their google hits. →Iñgōlemo←  talk   donate  08:12, 2005 Feb 8 (UTC)
 * Delete, not notable, possible vanity. Megan1967 08:28, 8 Feb 2005 (UTC)
 * Delete as not notable, very likely vanity. Andrew Lenahan - St ar bli nd 13:28, Feb 8, 2005 (UTC)
 * Delete, vanity CV frag. Wyss 19:39, 8 Feb 2005 (UTC)
 * Delete Vanity and no content of note Brookie 15:09, 12 Feb 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


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File:DioMasterOfTheMoon.jpg

Master of the Moon

title: File:DioMasterOfTheMoon.jpg


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My Dinner with Andre

My Dinner with Andre is a 1981 American comedy-drama film directed by Louis Malle, and written by and starring André Gregory and Wallace Shawn as fictionalized versions of themselves sharing a conversation at Café des Artistes in Manhattan. The film's dialogue covers topics such as experimental theater, the nature of theater, and the nature of life, and contrasts Andre's spiritual experiences with Wally's modest humanism.

Plot
Struggling playwright Wally dreads having dinner with his old friend Andre, whom he has been avoiding since Andre gave up his career as a theater director in 1975 and embarked on an extended spiritual midlife crisis including: synchronicity, eastern spirituality, near-death experience and utopian communes.

In a fancy New York restaurant, Andre tells Wally about some of the adventures he has had since they last saw each other, which include working with his mentor, the director Jerzy Grotowski, and a group of Polish actors in a forest in Poland, traveling to the Sahara to try to create a play based on The Little Prince by Saint-Exupéry, and visiting Findhorn in Scotland. The last in this string of events was when Andre and a small group of friends arranged Halloween-themed experiences for each other, and one piece consisted of the participants being briefly buried alive.

While Andre says he needed to do all of these things to get out of the rut he was in and learn how to be human, Wally argues that living as Andre has done for the past several years is simply not possible for most people, and he describes how he finds pleasure in more ordinary things, like a cup of coffee or his new electric blanket. Andre asserts that focusing too much on comfort can be dangerous, and says that what passes for normal life in New York in the late 1970s is more akin to living in a dream than living in reality. While Wally agrees with many of Andre's criticisms of modern society, he takes issue with the more mystical aspects of Andre's stories, as he has a rational and scientific worldview.

After all of the other customers have already left the restaurant, the friends, each having expressed themselves openly and feeling heard by the other, part on good terms. Since Andre paid for dinner, Wally treats himself to a taxi ride, and he notices feeling a deep connection to all of the familiar places he passes on the way home. He narrates that, when he sees his girlfriend, he tells her all about his dinner with Andre.

Cast

 * André Gregory as Andre
 * Wallace Shawn as Wallace "Wally" Shawn
 * Jean Lenauer as Waiter
 * Roy Butler as Bartender
 * Cindy Lou Adkins as Coat-Check Girl (uncredited)

Production
After spending several years away from the theater, André Gregory was looking to get back into it, so he asked his friend Wallace Shawn if he wanted to do something together. Shawn knew Gregory wanted to tell his story, even working with a biographer at one point, and suggested they develop a story consisting of a conversation between the two of them, with interest coming from their contrasting personalities and Gregory's anecdotes. Having recently acted in his first few films, Shawn saw the project as a film, rather than a play.

Although the film was based on events in the actors' lives, Gregory and Shawn denied (in an interview with film critic Roger Ebert) they were simply playing themselves, and said that, if they remade the film, they would swap characters to prove their point. In an interview with Noah Baumbach in 2009, Shawn said:

"I actually had a purpose as I was writing this: I wanted to destroy that guy that I played, to the extent that there was any of me there. I wanted to kill that side of myself by making the film, because that guy is totally motivated by fear."

While Shawn and Gregory were trying to find someone to direct the film, Gregory received a phone call, which he initially thought was a prank, from French director Louis Malle, who said he had read a copy of the screenplay he received from a mutual friend and he wanted to direct the film, or even just be a producer, if Gregory and Shawn did not think he was the right director. The writers brought Malle on board, and he worked with them to cut an hour from the three-hour script. Shawn later said that while he had carefully constructed the screenplay and would have preferred to make the longer film, Malle had won most of the arguments, and he credited Malle with infusing the film with a warmth that helped it connect with audiences.

A rehearsal held at a restaurant caused Malle to question whether the setting of the film should be changed, as the eating seemed likely to create problems. Shawn and Gregory tried to think of what else their characters could be doing, but they wound up just having Gregory not eat very much, as he is the one who does most of the talking in the film.

My Dinner with Andre was filmed in December 1980 in Richmond, Virginia, in the then-vacant Jefferson Hotel, which has since been restored and reopened as a luxury venue. The set was designed to look like the Café des Artistes in New York City, and the shoot lasted two weeks. Lloyd Kaufman was the film's production manager, and Troma Entertainment provided production support.

Release
The film had its world premiere at the Telluride Film Festival.

Reception
On review aggregator website Rotten Tomatoes, the film has an approval rating of 92% based on 25 reviews, with an average score of 7.8 out of 10. On Metacritic it has a score of 83 out of 100 based on 15 reviews, indicating "universal acclaim".

Roger Ebert and Gene Siskel gave high praise to the film on Sneak Previews, support that the producers told Ebert helped keep the film in theaters for a year. Ebert chose it as the best film of 1981, and he and Siskel later ranked it as the fifth-best and fourth-best film, respectively, of the 1980s. In 1999, Ebert added the film to his Great Movies essay series, starting the retrospective review by stating: "Someone asked me the other day if I could name a movie that was entirely devoid of clichés. I thought for a moment, and then answered, My Dinner with Andre."

At the 2nd Boston Society of Film Critics Awards, the film won the award for Best American Film of 1981, and Shawn and Gregory won Best Screenplay.

In popular culture

 * The July 21, 1982, comic of The Far Side by Gary Larson is a gag based on the title of this film.
 * This film is parodied in the film My Breakfast with Blassie (1983), in which Andy Kaufman has a discussion over breakfast at a diner with professional wrestling manager "Classy" Freddie Blassie.
 * An Animaniacs segment called "My Dinner with Wakko", from The Ten Short Films of Wakko Warner, where Wakko drinks his Soda while Dr Scratchansniff tells him about his trip to the Mayan Ruins.
 * The title of the American CGI-animated short film The Adventures of André & Wally B. (1984) is a tribute to this film.
 * In the fifth-season episode of The Simpsons entitled "Boy-Scoutz 'n the Hood" (1993), Martin Prince plays an arcade game based on this film.
 * The first season of the sitcom Frasier concludes with an episode titled "My Coffee with Niles" (1994), which is loosely based on this film's premise and structure. This film is also directly mentioned in "The Zoo Story" (1998), an episode in the fifth season of the series, when Martin says, mockingly, after he and Niles get their VHS tapes mixed up: "Yeah, well, that's the way Duke and I felt about My Dinner With Andre. Talk about suspense! Will they order dessert? Will they leave a good tip?"
 * During the end credits of the film Waiting For Guffman (1996), Corky St. Clair is shown displaying his action figures of the characters from this film.
 * The second-season episode of the television series Community entitled "Critical Film Studies" (2011) pays homage to this film.
 * In the Family Guy episode "Brian the Closer" (2014), the family watch "My Dinner With Andre The Giant" on TV.
 * The opening scene of the first-season episode of Nirvanna the Band the Show entitled "The Buffet" (2017) shows the main character mimicking Wally's actions from the beginning of this film: walking in the city, waiting for a subway, and putting on a tie before entering a restaurant.
 * Independent film director Maverick Moore parodied both this film and "the totally bonkers friendship between legendary filmmaker Werner Herzog and controversial actor Klaus Kinski", as chronicled in the documentaries Burden of Dreams and My Best Fiend, in the awarding -winning short film My Dinner with Werner (2019).
 * The title of the premiere episode of the fifth season of Rick and Morty, "Mort Dinner Rick Andre" (2021), is a parody of the title of this film.

title: My Dinner with Andre


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Lewinski

Lewinski (Lewiński) is a surname of Polish origin. Notable people with the surname include:

 * Ed Lewinski (1918–1962), American professional basketball player
 * Eduard von Lewinski (1829–1906), Prussian general
 * Erich von Manstein genannt von Lewinski (1887–1973), German field marshal in the Second World War
 * Jan Lewiński (1851–1919), architect
 * Jorge Lewinski (1921–2008), Polish-British photographer and soldier
 * Thomas Lewinski (c. 1800–1882), American architect
 * William Lewinski (born 1940s), Canadian-born police psychologist
 * Wolf-Eberhard von Lewinski (1927–2003), German music and theatre critic

title: Lewinski


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Alex Zander Morrow

Alex Tomaini (stage name: Alex Zander Morrow) is a sideshow performer. At the age of 14, he officially became the youngest confirmed sword swallower in the United States. He swallowed his first sword at the 2003 Sword Swallowers Convention in Wilkes-Barre, Pennsylvania before an audience of his peers and international media, only four hours after swallowing his first coat hanger as practice. He later joined a record attempt called "The Big Swallow" in which a group of sword swallowers try to simultaneously swallow as many swords as possible.

Alex lost the record to Erik Kloeker of the Pickled Brothers Sideshow, who is one year younger than Alex.

title: Alex Zander Morrow


text:
Wikipedia:Articles for deletion/Lewinsky

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was REDIRECT. dbenbenn | talk 20:28, 18 Feb 2005 (UTC)

Lewinsky
Slang term for oral sex. Originally created as Lewinski, proposed for speedy deletion but does not seem to fit the criteria. It's probably not used much anymore after a number of years have passed since the Monica Lewinsky scandal, and it's already mentioned in the Monica Lewinsky article. -- Curps 08:19, 8 Feb 2005 (UTC)
 * Redirect to Monica Lewinsky. Do not merge.  RickK 08:30, Feb 8, 2005 (UTC)
 * Redirect to Monica Lewinsky. Since the info is already there, a merge is not needed. Mgm|(talk) 09:52, Feb 8, 2005 (UTC)
 * Redirect both to Monica Lewinsky. I misspell the name as Lewinski all the time. Do not merge. jni 12:42, 8 Feb 2005 (UTC)
 * I agree with all; redirect both, with no merge; her article mentions the usage. Samaritan 14:57, 8 Feb 2005 (UTC)
 * Redirect, obviously, content is plainly unhelpful. Wyss 19:38, 8 Feb 2005 (UTC)
 * Redirect. No merge. Jayjg (talk) 21:10, 8 Feb 2005 (UTC)
 * Redirect to Monica Lewinsky or delete. Nothing here worth merging. Megan1967 00:56, 9 Feb 2005 (UTC)

This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


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Reserpine

Reserpine is a drug that is used for the treatment of high blood pressure, usually in combination with a thiazide diuretic or vasodilator. Large clinical trials have shown that combined treatment with reserpine plus a thiazide diuretic reduces mortality of people with hypertension. Although the use of reserpine as a solo drug has declined since it was first approved by the FDA in 1955, the combined use of reserpine and a thiazide diuretic or vasodilator is still recommended in patients who do not achieve adequate lowering of blood pressure with first-line drug treatment alone. The reserpine-hydrochlorothiazide combo pill was the 17th most commonly prescribed of the 43 combination antihypertensive pills available in 2012.

The antihypertensive actions of reserpine are largely due to its antinoradrenergic effects, which are a result of its ability to deplete catecholamines (among other monoamine neurotransmitters) from peripheral sympathetic nerve endings. These substances are normally involved in controlling heart rate, force of cardiac contraction and peripheral vascular resistance.

At doses of 0.05 to 0.2 mg per day, reserpine is well tolerated; the most common adverse effect being nasal stuffiness.

Reserpine has also been used for relief of psychotic symptoms. A review found that in persons with schizophrenia, reserpine and chlorpromazine had similar rates of adverse effects, but that reserpine was less effective than chlorpromazine for improving a person's global state.

Medical uses
Reserpine is recommended as an alternative drug for treating hypertension by the JNC 8. A 2016 Cochrane review found reserpine to be as effective as other first-line antihypertensive drugs for lowering of blood pressure. The reserpine–thiazide diuretic combination is one of the few drug treatments shown to reduce mortality in randomized controlled trials: The Hypertension Detection and Follow-up Program, the Veterans Administration Cooperative Study Group in Anti-hypertensive Agents, and the Systolic Hypertension in the Elderly Program. Moreover, reserpine was included as a secondary antihypertensive option for patients who did not achieve blood pressure lowering targets in the ALLHAT study.

It was previously used to treat symptoms of dyskinesia in patients with Huntington's disease, but alternative medications are preferred today.

The daily dose of reserpine in antihypertensive treatment is as low as 0.05 to 0.25 mg. The use of reserpine as an antipsychotic drug had been nearly completely abandoned, but more recently it made a comeback as adjunctive treatment, in combination with other antipsychotics, so that more refractory patients get dopamine blockade from the other antipsychotic, and dopamine depletion from reserpine. Doses for this kind of adjunctive goal can be kept low, resulting in better tolerability. Originally, doses of 0.5 mg to 40 mg daily were used to treat psychotic diseases.

Doses in excess of 3 mg daily often required use of an anticholinergic drug to combat excessive cholinergic activity in many parts of the body as well as parkinsonism. For adjunctive treatment, doses are typically kept at or below 0.25 mg twice a day.

Adverse effects
At doses of less than 0.2 mg/day, reserpine has few adverse effects, the most common of which is nasal congestion.

Reserpine can cause: nasal congestion, nausea, vomiting, weight gain, gastric intolerance, gastric ulceration (due to increased cholinergic activity in gastric tissue and impaired mucosal quality), stomach cramps and diarrhea. The drug causes hypotension and bradycardia and may worsen asthma. Congested nose and erectile dysfunction are other consequences of alpha-blockade.

Central nervous system effects at higher doses (0.5 mg or higher) include drowsiness, dizziness, nightmares, Parkinsonism, general weakness and fatigue.

High dose studies in rodents found reserpine to cause fibroadenoma of the breast and malignant tumors of the seminal vesicles among others. Early suggestions that reserpine causes breast cancer in women (risk approximately doubled) were not confirmed. It may also cause hyperprolactinemia.

Reserpine passes into breast milk and is harmful to breast-fed infants, and should therefore be avoided during breastfeeding if possible.

It may produce an excessive decline in blood pressure at doses needed for treatment of anxiety, depression, or psychosis.

Mechanism of action
Reserpine irreversibly blocks the H+-coupled vesicular monoamine transporters, VMAT1 and VMAT2. VMAT1 is mostly expressed in neuroendocrine cells. VMAT2 is mostly expressed in neurons. Thus, it is the blockade of neuronal VMAT2 by reserpine that inhibits uptake and reduces stores of the monoamine neurotransmitters norepinephrine, dopamine, serotonin and histamine in the synaptic vesicles of neurons. VMAT2 normally transports free intracellular norepinephrine, serotonin, and dopamine in the presynaptic nerve terminal into presynaptic vesicles for subsequent release into the synaptic cleft ("exocytosis"). Unprotected neurotransmitters are metabolized by MAO (as well as by COMT), attached to the outer membrane of the mitochondria in the cytosol of the axon terminals, and consequently never excite the post-synaptic cell. Thus, reserpine increases removal of monoamine neurotransmitters from neurons, decreasing the size of the neurotransmitter pools, and thereby decreasing the amplitude of neurotransmitter release. As it may take the body days to weeks to replenish the depleted VMATs, reserpine's effects are long-lasting.

Biosynthetic pathway
Reserpine is one of dozens of indole alkaloids isolated from the plant Rauvolfia serpentina. In the Rauvolfia plant, tryptophan is the starting material in the biosynthetic pathway of reserpine, and is converted to tryptamine by tryptophan decarboxylase enzyme. Tryptamine is combined with secologanin in the presence of strictosidine synthetase enzyme and yields strictosidine. Various enzymatic conversion reactions lead to the synthesis of reserpine from strictosidine.

History
Reserpine was isolated in 1952 from the dried root of Rauvolfia serpentina (Indian snakeroot), which had been known as Sarpagandha and had been used for centuries in India for the treatment of insanity, as well as fever and snakebites — Mahatma Gandhi used it as a tranquilizer. It was first used in the United States by Robert Wallace Wilkins in 1950. Its molecular structure was elucidated in 1953 and natural configuration published in 1955. It was introduced in 1954, two years after chlorpromazine. The first total synthesis was accomplished by R. B. Woodward in 1958.

Reserpine was influential in promoting the thought of a biogenic amine hypothesis of depression. Reserpine-induced depletion of monoamine neurotransmitters in the synapse allegedly caused depression and was cited as evidence that a "chemical imbalance", namely low levels of monoamine neurotransmitters, is what causes clinical depression in humans. A 2003 review showed barely any evidence that reserpine actually causes depression in either human patients or animal models. Notably, reserpine was the first compound ever to be shown to be an effective antidepressant in a randomized placebo-controlled trial. A 2022 systematic review found that studies of the influence of reserpine on mood were highly inconsistent, with similar proportions of studies reporting depressogenic effects, no influence on mood, and antidepressant effects. The quality of evidence was limited, and only a subset of studies were randomized controlled trials. Although reserpine itself cannot provide good evidence for the monoamine hypothesis of depression, other lines of evidence support the idea that boosting serotonin or norepinephrine can effectively treat depression, as shown by SSRIs, SNRIs, and tricyclic antidepressants.

Antibacterial effects
Reserpine inhibits formation of biofilms by Staphylococcus aureus and inhibits the metabolic activity of bacteria present in biofilms.

Veterinary
Reserpine is used as a long-acting tranquilizer to subdue excitable or difficult horses and has been used illicitly for the sedation of show horses, for-sale horses, and in other circumstances where a "quieter" horse might be desired.

It is also used in dart guns.

title: Reserpine


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John Ledford

John Robert Ledford II (born August 19, 1968, in Houston, Texas) is an American entrepreneur and producer in the anime industry. He founded A.D. Vision, Anime Network, Newtype USA and Sentai Filmworks, and has been an executive producer for hundreds of anime titles including Halo Legends, Appleseed Alpha, Short Peace, Sailor Moon, Hello Kitty, and the dubbing of Neon Genesis Evangelion.

Life and career
John Robert Ledford II was born on August 19, 1968, in Houston, Texas, to Gayle Greer (1945–2009) and John Robert Ledford. His mother, Gayle, was a harpist and an equestrian.

A fan of video games, Ledford began his career in 1990 by founding Gametronix. The business grew to become America's second largest importer of Japanese video games and consoles such as Mega Drive, Famicom, Super Famicom and PC Engine. John's interest in anime began after being introduced to My Neighbor Totoro. In 1992, he and his business partner Matt Greenfield turned their attention to the anime industry and founded A.D. Vision.

A.D. Vision (aka ADV Films or ADV) became a global leader of anime entertainment, innovation, media diversity, branded consumer products, licensing and publishing. By its 10th year, ADV was the largest employer of actors in the Southwest United States and expanded to include Tokyo and UK branches. Within a decade, ADV cemented its status as a major distributor of anime in North America, releasing titles such as Neon Genesis Evangelion, Sailor Moon, and Hello Kitty. The company also released live-action films on DVD, such as Gene Roddenberry's Andromeda (TV Series) and Earth Final Conflict as well as the Sci-Fi Channel and Jim Henson hit series Farscape, promoted original film releases and ventured into extreme wrestling with Combat Zone Wrestling.

Ledford then founded Anime Network, North America's first all-anime dedicated cable TV network, in 2001; it grew from just 500,000 households to reach over 40,000,000 households. The following year he started publishing Newtype USA in partnership with Kadokawa Publishing. The publishing operation grew to include ADV Manga, which licensed and published hundreds of Japanese manga and Korean manhwa for North American distribution.

Ledford co-founded J-Spec Pictures in 2008 with producer Joseph Chou. The company's first project revolved around Halo, the number one global franchise by developer Bungie and published by Microsoft Corp.

In 2008, Ledford established separate companies from ADV called Sentai Filmworks and Sentai Holdings. Since then, Sentai has acquired roughly four hundred licenses including a number of acclaimed titles such as Grave of the Fireflies, Ninja Scroll, High School of the Dead, and Gatchaman. In 2014, Sentai Filmworks acquired the North American license to Short Peace, an omnibus collection of four anime shorts including the 86th Academy Awards nominated Best Animated Short Film Possessions directed by Shuhei Morita. The film had a nationwide theatrical release in over 250 theaters.

Ledford created the anime streaming service HIDIVE, which launched in June 2017.

Sentai Filmworks continues to manage one of the world's largest anime libraries released across traditional and digital media platforms. Sentai Filmworks, Sentai Holdings, and the HIDIVE streaming service were sold to AMC Networks in January 2022.

Ledford created Infinite Frontiers in 2010 to aggregate digital content through accounts such as Hulu, Netflix, iTunes, PlayStation and Xbox Live. Still an avid fan of games, two years later he founded Spectre Media as a mobile gaming start up to develop and publish games to Apple iOS, Android and web browsers. The company's debut launch title was Mobile Infantry (Starship Troopers), based on the sci-fi movie, comic and book franchise Starship Troopers.

Other articles

 * Anime, Piracy and Profits from CNNMoney
 * It's... Profitmón! from Fortune (magazine)
 * Anti-Disney Style of 'Manga' and 'Anime' Appeals to Americans from The Japan Times
 * 2002 - The Most Powerful from Anime News Network
 * ADV Films Founder Ranks on List of Most Powerful People in Genre Entertainment from PR Newswire
 * Best Anime Purveyors from Houston Press
 * Dubbing, Pricing, Catalogue, Anime Network, Blu-ray, the Future from ICv2

title: John Ledford


text:
Bryan White

Bryan Shelton White (born February 17, 1974) is an American country music singer and songwriter. Signed to Asylum Records in 1994 at age 20, White released his self-titled debut album that year. Both it and its follow-up, 1996's Between Now and Forever, were certified platinum by the Recording Industry Association of America, and 1997's The Right Place was certified gold. His fourth album, 1999's How Lucky I Am, produced two top 40 singles, with the song "God Gave Me You" eventually becoming a big hit in the Philippines.

White has charted 17 singles on the Billboard country charts, of which four reached number one: "Someone Else's Star" in 1995, "Rebecca Lynn" and "So Much for Pretending" in 1996, and "Sittin' on Go" in 1997. "So Much for Pretending" was the most successful of these songs, spending two weeks at number one.

Early life
White was born in Lawton, Oklahoma, in 1974, and raised in Oklahoma City. Raised by a musical family, White began playing the drums at age 5 through the instruction of his father. He also played in his mother's pop band and his father's country band as a teenager, and was encouraged to take up singing after his mother heard him sing during a sound check.

After moving to Nashville White sold T-shirts for the band Pearl River, in which his friend Derek George played guitar. The band regularly let White onstage to perform a song during their concerts. He also befriended two record producers: Billy Joe Walker, Jr. (who is also a session guitarist, songwriter, and Jazz musician) and Kyle Lehning, the latter of whom helped him sign a contract with Asylum Records in 1994.

Bryan White
White released his debut single "Eugene You Genius" in late 1994. Although it failed to reach Top 40 on the Hot Country Songs charts, his debut album was released under the production of Lehning and Walker. The next single, "Look at Me Now", peaked at number 24, followed by the consecutive number 1 hits "Someone Else's Star" and "Rebecca Lynn". The success of these latter two singles helped Bryan White achieve a platinum certification from the Recording Industry Association of America (RIAA) for shipments of one million copies. The album included two songs which would later be singles for other artists in 1997: "Nothin' Less Than Love" (recorded by The Buffalo Club) and "Going, Going, Gone" (recorded by Neal McCoy). Also in 1995, Sawyer Brown charted in the Top Five with "I Don't Believe in Goodbye", a song which White co-wrote with Scotty Emerick and Sawyer Brown lead singer Mark Miller. In 1996, White earned the Country Music Association's Horizon Award and the Academy of Country Music's Top New Male Vocalist award.

A review in the St. Petersburg Times said that the label "erred by releasing a novelty song as his first single" but added "the rest of Bryan White's debut album makes it clear that he has talent polish and promise." Tom Lanham of New Country magazine thought that the album showed promise despite White's age, while comparing his vocal delivery favorably to that of Vince Gill.

Between Now and Forever
White's second album, Between Now and Forever, was released in early 1996. Its lead-off, "I'm Not Supposed to Love You Anymore", reached number 1 on the country charts, followed by the number 1 "So Much for Pretending", the number 15 "That's Another Song", and his sixth number one hit, 1997's "Sittin' on Go". Like his debut album, Between Now and Forever was certified platinum. That same year, Diamond Rio charted in the Top 5 with "Imagine That", which White co-wrote with Derek George and John Tirro.

The Right Place
The Right Place followed in 1997. Its title track, "Love Is the Right Place", was a Top 5 hit, although later singles proved less successful. "One Small Miracle" peaked at 15, and "Bad Day to Let You Go" peaked in at 30 in 1998. The album earned a gold certification. Also in 1998, White contributed background vocals and made a guest appearance on Shania Twain's Top Ten country and pop hit "From This Moment On" released on Shania's 1997 album Come On Over, there are several edits of the song, both country and pop. The final single from The Right Place, "Tree of Hearts", failed to make Top 40. White followed up the album with a Christmas EP entitled Dreaming of Christmas. He also co-wrote Lila McCann's "You're Gone" with friend Steve Wariner and sang background vocals on the song with Steve Wariner and Vince Gill. Also in 1998, he was one of several artists to participate in a charity single entitled "One Heart at a Time".

How Lucky I Am and Greatest Hits
A fourth album for Asylum, How Lucky I Am, followed in 1999. Session guitarist and producer Dann Huff produced half of the album, and White co-produced the rest with Derek George. Both of its singles ("You're Still Beautiful To Me" and "God Gave Me You") were top 30 singles. White's label Asylum closed its Nashville division soon afterward. He then signed with Warner Bros. Records. WB issued a Greatest Hits album in 2000 on Warner Bros. Records. This album included the number 56 single "How Long".

White's 1999/2000 single "God Gave Me You" from the album How Lucky I Am became a massive hit in the Philippines 16 years after it was released due to its use of the AlDub love-team phenomenon which was vocally dubbed by Alden Richards and Maine Mendoza on the Kalyeserye segment of the noontime TV variety show Eat Bulaga!. The success of this song prompted White to visit the Philippines for the first time to perform a concert at the Smart Araneta Coliseum on December 1, 2015. White also performed the song on Eat Bulaga! and Sunday PinaSaya. He also visited the Catmon community in Manila with Food for the Hungry.

2000s
Being so young in the 1990s and thrust into stardom so fast, White found that the industry's pressures ended up taking their toll. As White has stated, "I found myself being defined by my career and success and being pushed farther away from who I really was meant to be". With his fourth album being less commercially successful, he began doubting himself and his voice which landed him in a deep depression, forcing him to take some time off until 2005, when he began work on another album. A second Christmas EP, My Christmas Project, followed in 2006.

A new album, Dustbowl Dreams, was released on September 28, 2009. White released a new single from that album, "The Little Things", in July 2009. White said, "It was a record that I had to make. It's my most personal to date. "Dustbowl Dreams" was for my healing.."

2012 New Music Project
On September 24, 2012, White launched a Kickstarter project for a new record which he planned to create without the help of a record label. On October 24, 2012, the Kickstarter project funding period closed. White raised $34,889 in total. On March 20, 2013, White announced to his Kickstarter backers that the album would at least include the following songs: "Another Day In The Sun," "Amen," "Born To Be Somebody," "Call Me Crazy," "Another Man's Shoes," and "What I Already Know." On June 17, 2013, in an update to his financial backers, White announced that the album would be called Shine.

Personal life
White is married to actress Erika Page White, and together they have two sons, Justin and Jackson. White's father was killed on October 5, 2016 in a car accident in Snyder, Oklahoma.

Discography

 * Bryan White (1994)
 * Between Now and Forever (1996)
 * The Right Place (1997)
 * How Lucky I Am (1999)
 * Greatest Hits (2000)
 * Dustbowl Dreams (2009)
 * Shine (2014)

title: Bryan White


text:
Gloria E. Anzaldúa

Gloria Evangelina Anzaldúa (September 26, 1942 – May 15, 2004) was an American scholar of Chicana feminism, cultural theory, and queer theory. She loosely based her best-known book, Borderlands/La Frontera: The New Mestiza (1987), on her life growing up on the Mexico–Texas border and incorporated her lifelong experiences of social and cultural marginalization into her work. She also developed theories about the marginal, in-between, and mixed cultures that develop along borders, including on the concepts of Nepantla, Coyoxaulqui imperative, new tribalism, and spiritual activism. Her other notable publications include This Bridge Called My Back: Writings by Radical Women of Color (1981), co-edited with Cherríe Moraga.

Early life and education
Anzaldúa was born in the Rio Grande Valley of south Texas on September 26, 1942, the eldest of four children born to Urbano and Amalia ( García) Anzaldúa. Her great-grandfather, Urbano Sr., once a precinct judge in Hidalgo County, was the first owner of the Jesús María Ranch on which she was born. Her mother grew up on an adjoining ranch, Los Vergeles ("the gardens"), which was owned by her family, and she met and married Urbano Anzaldúa when both were very young. Anzaldúa was a descendant of Spanish settlers to come to the Americas in the 16th and 17th centuries. The surname Anzaldúa is of Basque origin. Her paternal grandmother was of Spanish and German ancestry, descending from some of the earliest settlers of the South Texas range country. She has described her father's family as being "very poor aristocracy, but aristocracy anyway" and her mother as "very india, working class, with maybe some black blood which is always looked down on in the valley where I come from."

Anzaldúa wrote that her family gradually lost their wealth and status over the years, eventually being reduced to poverty and being forced into migrant labor, something her family resented because "[t]o work in the fields is the lowest job, and to be a migrant worker is even lower." Her father was a tenant farmer and sharecropper who kept 60% of what he earned, while 40% went to a white-owned corporation called Rio Farms, Inc. Anzaldúa claimed that her family lost their land due to a combination of both "taxes and dirty manipulation" from white people who were buying up land in South Texas through "trickery" and from the behavior of her "very irresponsible grandfather", who lost "a lot of land and money through carelessness". Anzaldúa was left with an inheritance of "a little piece" of 12 acres, which she deeded over to her mother Amalia. Her maternal grandmother Ramona Dávila had amassed land grants from the time Texas was part of Mexico, but the land was lost due to "carelessness, through white peoples' greed, and my grandmother not knowing English".

Anzaldúa wrote that she did not call herself an "india", but still claimed Indigenous ancestry. In "Speaking across the Divide", from The Gloria E. Anzaldúa Reader, she states that her white/mestiza grandmother described her as "pura indita" due to dark spots on her buttocks. Later, Anzaldúa wrote that she "recognized myself in the faces of the braceros that worked for my father. Los braceros were mostly indios from central Mexico who came to work the fields in south Texas. I recognized the Indian aspect of mexicanos by the stories my grandmothers told and by the foods we ate." Despite her family not identifying as Mexican, Anzaldúa believed that "we were still Mexican and that all Mexicans are part Indian." Although Anzaldúa has been criticized by Indigenous scholars for allegedly appropriating Indigenous identity, Anzaldúa claimed that her Indigenous critics had "misread or ... not read enough of my work." Despite claiming to be "three quarters Indian", she also wrote that she was afraid she was "violating Indian cultural boundaries" and afraid that her theories could "unwittingly contribute to the misappropriation of Native cultures" and of "people who live in real Indian bodies." She wrote that while worried that "mestizaje and a new tribalism" could "detribalize" Indigenous peoples, she believed the dialogue was imperative "no matter how risky." Writing about the "Color of Violence" conference organized by Andrea Smith in Santa Cruz, Anzaldúa accused Native American women of engaging in "a lot of finger pointing" because they had argued that non-Indigenous Chicanas' use of Indigenous identity is a "continuation of the abuse of native spirituality and the Internet appropriation of Indian symbols, rituals, vision quests, and spiritual healing practices like shamanism."

When she was 11 years old, Anzaldúa's family relocated to Hargill, Texas. She graduated as valedictorian of Edinburg High School in 1962.

She managed to pursue a university education, despite the racism, sexism and other forms of oppression she experienced as a seventh-generation Tejana and Chicana. In 1968, she received a B.A. degree in English, Art, and Secondary Education from University of Texas–Pan American, and an M.A. in English and Education from the University of Texas at Austin. While in Austin, she joined politically active cultural poets and radical dramatists such as Ricardo Sanchez, and Hedwig Gorski.

Career and major works
After obtaining a Bachelor of Arts in English from the Pan American University (now University of Texas Rio Grande Valley), Anzaldúa worked as a preschool and special education teacher. In 1977, she moved to California, where she supported herself through her writing, lectures, and occasional teaching stints about feminism, Chicano studies, and creative writing at San Francisco State University, the University of California, Santa Cruz, Florida Atlantic University, and other universities.

She is perhaps best known for co-editing This Bridge Called My Back: Writings by Radical Women of Color (1981) with Cherríe Moraga, editing Making Face, Making Soul/Haciendo Caras: Creative and Critical Perspectives by Women of Color (1990), and co-editing This Bridge We Call Home: Radical Visions for Transformation (2002). Anzaldúa also wrote the semi-autobiographical Borderlands/La Frontera: The New Mestiza (1987). At the time of her death, she was close to completing the book manuscript, Light in the Dark/Luz en lo Oscuro: Rewriting Identity, Spirituality, Reality, which she also planned to submit as her dissertation. It has now been published posthumously by Duke University Press (2015). Her children's books include Prietita Has a Friend (1991), Friends from the Other Side– Amigos del Otro Lado (1993), and Prietita y La Llorona (1996). She also authored many fictional and poetic works.

She made contributions to fields of feminism, cultural theory/Chicana, and queer theory. Her essays are considered foundational texts in the burgeoning field of Latinx philosophy.

Anzaldúa wrote a speech called "Speaking in Tongues: A Letter to Third World Women Writers", focusing on the shift towards an equal and just gender representation in literature but away from racial and cultural issues because of the rise of female writers and theorists. She also stressed in her essay the power of writing to create a world that would compensate for what the real world does not offer.

This Bridge Called My Back
Anzaldúa's essay '"La Prieta" deals with her manifestation of thoughts and horrors that have constituted her life in Texas. Anzaldúa identifies herself as an entity without a figurative home and/or peoples to completely relate to. To supplement this deficiency, Anzaldúa created her own sanctuary, Mundo Zurdo, whereby her personality transcends the norm-based lines of relating to a certain group. Instead, in her Mundo Zurdo, she is like a "Shiva, a many-armed and legged body with one foot on brown soil, one on white, one in straight society, one in the gay world, the man's world, the women's, one limb in the literary world, another in the working class, the socialist, and the occult worlds". The passage describes the identity battles which the author had to engage in throughout her life. Since early childhood, Anzaldúa has had to deal with the challenge of being a woman of color. From the beginnings she was exposed to her own people, to her own family's racism and "fear of women and sexuality". Her family's internalized racism immediately cast her as the "other" because of their bias that being white and fair-skinned means prestige and royalty, when color subjects one to being almost the scum of society (just as her mother had complained about her prieta dating a mojado from Peru). The household she grew up in was one in which the male figure was the authoritarian head, while the female, the mother, was stuck in all the biases of this paradigm. Although this is the difficult position in which white, patriarchal society has cast women of color, gays and lesbians, she does not make them out to be the archenemy, because she believes that "casting stones is not the solution" and that racism and sexism do not come from only whites but also people of color. Throughout her life, the inner racism and sexism from her childhood would haunt her, as she often was asked to choose her loyalties, whether it be to women, to people of color, or to gays/lesbians. Her analogy to Shiva is well-fitted, as she decides to go against these conventions and enter her own world: Mundo Zurdo, which allows the self to go deeper, to transcend the lines of convention and, at the same time, to recreate the self and the society. This is for Anzaldúa a form of religion, one that allows the self to deal with the injustices that society throws at it and to come out a better person, a more reasonable person.

An entry in the book, titled "Speaking In Tongues: A Letter To Third World Women Writers", spotlights the dangers Anzaldúa considers women writers of color deal with, dangers that are rooted in a lack of privileges. She talks about the transformation of writing styles and how we are taught not to air our truths. Folks are outcast as a result of speaking and writing with their native tongues. Anzaldúa wants more women writers of color to be visible and be well represented in text. Her essay compels us to write with compassion and with love. For writing is a form of gaining power by speaking our truths, and it is seen as a way to decolonize, to resist, and to unite women of color collectively within the feminist movement.

Borderlands/La Frontera: The New Mestiza
She is highly known for this autotheoretical book, which discusses her life growing up on the Mexico–Texas border. It was selected as one of the 38 best books of 1987 by Library Journal. Borderlands examines the condition of women in Chicano and Latino culture. Anzaldúa discusses several critical issues related to Chicana experiences: heteronormativity, colonialism, and male dominance. She gives a very personal account of the oppression of Chicana lesbians and talks about the gendered expectations of behavior that normalizes women's deference to male authority in her community. She develops the idea of the "new mestiza" as a "new higher consciousness" that will break down barriers and fight against the male/female dualistic norms of gender. The first half of the book is about isolation and loneliness in the borderlands between cultures. The latter half of the book is poetry. In the book, Anzaldúa uses two variations of English and six variations of Spanish. By doing this, she deliberately makes it difficult for non-bilinguals to read. Language was one of the barriers Anzaldúa dealt with as a child, and she wanted readers to understand how frustrating things are when there are language barriers. The book was written as an outlet for her anger and encourages one to be proud of one's heritage and culture.

In chapter 3 of the book, titled "Entering Into the Serpent", Anzaldúa discusses three key women in Mexican culture – "La Llorona, La Malinche, and Our Lady of Guadalupe – known as the "Three Mothers" (Las Tres Madres), and explores their relationship to Mexican culture.

 Light in the Dark/Luz en lo Oscuro: Rewriting Identity, Spirituality, Reality

Anzaldúa wrote Light in the Dark during the last decade of her life. Drawn from her unfinished dissertation for her PhD in Literature from University of California, Santa Cruz, the book is carefully organized from The Gloria Anzaldúa Papers, 1942–2004 by AnaLouise Keating, Anzaldúa's literary trustee. The book represents her most developed philosophy. Throughout Light in the Dark, Anzaldúa weaves personal narratives into deeply engaging theoretical readings to comment on numerous contemporary issues—including the September 11 attacks, neocolonial practices in the art world, and coalitional politics. She valorizes subaltern forms and methods of knowing, being, and creating that have been marginalized by Western thought, and theorizes her writing process as a fully embodied artistic, spiritual, and political practice. Light in the Dark contains multiple transformative theories including include the nepantleras, the Coyolxauhqui imperative (named for the Aztec goddess Coyolxāuhqui), spiritual activism, and others.

Nepantilism
Anzaldúa drew on Nepantla, a Nahuatl word that means "in the middle", to conceptualize her experience as a Chicana woman. She coined the term "Nepantlera". "Nepantleras are threshold people; they move within and among multiple, often conflicting, worlds and refuse to align themselves exclusively with any single individual, group, or belief system."

Spirituality
Anzaldúa described herself as a very spiritual person and stated that she experienced four out-of-body experiences during her lifetime. In many of her works, she referred to her devotion to la Virgen de Guadalupe (Our Lady of Guadalupe), Nahuatl/Toltec divinities, and to the Yoruba orishás Yemayá and Oshún. In 1993, she expressed regret that scholars had largely ignored the "unsafe" spiritual aspects of Borderlands and bemoaned the resistance to such an important part of her work. In her later writings, she developed the concepts of spiritual activism and nepantleras to describe the ways contemporary social actors can combine spirituality with politics to enact revolutionary change.

Anzaldúa has written about the influence of hallucinogenic drugs on her creativity, particularly psilocybin mushrooms. During one 1975 psilocybin mushroom trip when she was "stoned out of my head", she coined the term "the multiple Glorias" or the "Gloria Multiplex" to describe her feeling of multiplicity, an insight that influenced her later writings.

Language and "linguistic terrorism"
Anzaldua's works weave English and Spanish together as one language, an idea stemming from her theory of "borderlands" identity. Her autobiographical essay "La Prieta" was published in (mostly) English in This Bridge Called My Back, and in (mostly) Spanish in Esta puente, mi espalda: Voces de mujeres tercermundistas en los Estados Unidos. In her writing, Anzaldúa uses a unique blend of eight dialects, two variations of English and six of Spanish. In many ways, by writing in a mix of languages, Anzaldúa creates a daunting task for the non-bilingual reader to decipher the full meaning of the text. Language, clearly one of the borders Anzaldúa addressed, is an essential feature to her writing. Her book is dedicated to being proud of one's heritage and to recognizing the many dimensions of her culture.

Anzaldúa emphasized in her writing the connection between language and identity. She expressed dismay with people who gave up their native language in order to conform to the society they were in. Anzaldúa was often scolded for her improper Spanish accent and believed it was a strong aspect to her heritage; therefore, she labels the qualitative labeling of language "linguistic terrorism." She spent a lot of time promoting acceptance of all languages and accents. In an effort to expose her stance on linguistics and labels, Anzaldúa explained, "While I advocate putting Chicana, tejana, working-class, dyke-feminist poet, writer theorist in front of my name, I do so for reasons different than those of the dominant culture... so that the Chicana and lesbian and all the other persons in me don't get erased, omitted, or killed."

Despite the connection between language and identity, Anzaldúa also highlighted that language is a bridge that linked mainstream communities and marginalized communities. She claimed language is a tool that identifies marginalized communities, represents their heritage and cultural backgrounds. The connection which language created is two-way, it not only encourage marginalized communities to express themselves, but also calls on mainstream communities to engage with the language and culture of marginalized communities.

Health, body, and trauma
Anzaldúa experienced at a young age, symptoms of the endocrine condition that caused her to stop growing physically at the age of twelve. As a child, she would wear special girdles fashioned for her by her mother in order to disguise her condition. Her mother would also ensure that a cloth was placed in Anzaldúa's underwear as a child in case of bleeding. Anzaldúa remembers, "I'd take [the bloody cloths] out into this shed, wash them out, and hang them really low on a cactus so nobody would see them.... My genitals... [were] always a smelly place that dripped blood and had to be hidden." She eventually underwent a hysterectomy in 1980 when she was 38 years old to deal with uterine, cervical, and ovarian abnormalities.

Anzaldúa's poem "Nightvoice" alludes to a history of child sexual abuse, as she writes: "blurting out everything how my cousins/took turns at night when I was five eight ten."

Mestiza/Border Culture
One of Anzaldúa's major contributions was her introduction to United States academic audiences of the term mestizaje, meaning a state of being beyond binary ("either-or") conception, into academic writing and discussion. In her theoretical works, Anzaldúa called for a "new mestiza," which she described as an individual aware of her conflicting and meshing identities and uses these "new angles of vision" to challenge binary thinking in the Western world. The "borderlands" that she refers to in her writing are geographical as well as a reference to mixed races, heritages, religions, sexualities, and languages. Anzaldúa is primarily interested in the contradictions and juxtapositions of conflicting and intersecting identities. She points out that having to identify as a certain, labelled, sex can be detrimental to one's creativity as well as how seriously people take you as a producer of consumable goods. The "new mestiza" way of thinking is illustrated in postcolonial feminism. In education, Anzaldúa's practice of border challenges the traditionally structured binary understanding of gender. It recognizes gender identity is not fixed or singular concept but rather a complex terrain. Encouraged educators to provide a safe and open platform for students to learn, recognize, and identify themselves comfortably.

Anzaldúa called for people of different races to confront their fears to move forward into a world that is less hateful and more useful. In "La Conciencia de la Mestiza: Towards a New Consciousness," a text often used in women's studies courses, Anzaldúa insisted that separatism invoked by Chicanos/Chicanas is not furthering the cause but instead keeping the same racial division in place. Many of Anzaldúa's works challenge the status quo of the movements in which she was involved. She challenged these movements in an effort to make real change happen to the world rather than to specific groups. Scholar Ivy Schweitzer writes, "her theorizing of a new borderlands or mestiza consciousness helped jump start fresh investigations in several fields -- feminist, Americanist [and] postcolonial."

Sexuality
In the same way that Anzaldúa often wrote that she felt that she could not be classified as only part of one race or the other, she felt that she possessed a multi-sexuality. When growing up, Anzaldúa expressed that she felt an "intense sexuality" towards her own father, children, animals, and even trees. AnaLouise Keating considered omitting Anzaldúa's sexual fantasies involving incest and bestiality for being "rather shocking" and "pretty radical", but Anzaldúa insisted that they remain because "to me, nothing is private." Anzaldúa claimed she had "sexual fantasies about father-daughter, sister-brother, woman-dog, woman-wolf, woman-jaguar, woman-tiger, or woman-panther. It was usually a cat- or dog-type animal." Anzaldúa also specified that she may have "mistaken this connection, this spiritual connection, for sexuality." She was attracted to and later had relationships with both men and women. Although she identified herself as a lesbian in most of her writing and had always experienced attraction to women, she also wrote that lesbian was "not an adequate term" to describe herself. She stated that she "consciously chose women" and consciously changed her sexual preference by changing her fantasies, arguing that "You can change your sexual preference. It's real easy." She stated that she "became a lesbian in my head first, the ideology, the politics, the aesthetics" and that the "touching, kissing, hugging, and all came later". Anzaldúa wrote extensively about her queer identity and the marginalization of queer people, particularly in communities of color.

Feminism
Anzaldúa self-identifies in her writing as a feminist, and her major works are often associated with Chicana feminism and postcolonial feminism. Anzaldúa writes of the oppression she experiences specifically as a woman of color, as well as the restrictive gender roles that exist within the Chicano community. In Borderlands, she also addresses topics such as sexual violence perpetrated against women of color. Her theoretical work on border culture is considered a precursor to Latinx Philosophy.

Criticism
Anzaldúa has been criticized for neglecting and erasing Afro-Latino and Afro-Mexican history, as well as for drawing inspiration from José Vasconcelos' La raza cósmica without critiquing the racism, anti-blackness, and eugenics within the work of Vasconcelos.

Josefina Saldaña-Portillo's 2001 essay "Who's the Indian in Aztlán?" criticizes the "indigenous erasure" in the work of Anzaldúa as well as Anzaldúa's "appropriation of state sponsored Mexican indigenismo." Juliet Hooker in "Hybrid subjectivities, Latin American mestizaje, and Latino political thought on race" also describes some of Anzaldúa's work as, "deploy[ing] an overly romanticized portrayal of indigenous peoples that looks onto the past rather than contemporary indigenous movements".

Awards

 * Before Columbus Foundation American Book Award (1986) – This Bridge Called My Back: Writings by Radical Women of Color
 * Lambda Lesbian Small Book Press Award (1991)
 * Lesbian Rights Award (1991)
 * Sappho Award of Distinction (1992)
 * National Endowment for the Arts Fiction Award (1991)
 * American Studies Association Lifetime Achievement Award (Bode-Pearson Prize – 2001).

Additionally, her work Borderlands/La Frontera: The New Mestiza was recognized as one of the 38 best books of 1987 by Library Journal and 100 Best Books of the Century by both Hungry Mind Review and Utne Reader.

In 2012, she was named by Equality Forum as one of their 31 Icons of the LGBT History Month.

Death and legacy
Anzaldúa died on May 15, 2004, at her home in Santa Cruz, California, from complications of diabetes. At the time of her death, she was working toward the completion of her dissertation to receive her doctorate in Literature from the University of California, Santa Cruz. It was awarded posthumously in 2005.

The Chicana/o Latina/o Research Center (CLRC) at University of California, Santa Cruz offers the annual Gloria E. Anzaldúa Distinguished Lecture Award and The Gloria E. Anzaldúa Award for Independent Scholars and Contingent Faculty is offered annually by the American Studies Association. The latter "...honors Anzaldúa's outstanding career as an independent scholar and her labor as contingent faculty, along with her groundbreaking contributions to scholarship on women of color and to queer theory. The award includes a lifetime membership in the ASA, a lifetime electronic subscription to American Quarterly, five years access to the electronic library resources at the University of Texas at Austin, and $500".

In 2007, three years after Anzaldúa's death, the Society for the Study of Gloria Anzaldúa (SSGA) was established to gather scholars and community members who continue to engage Anzaldúa's work. The SSGA co-sponsors a conference – El Mundo Zurdo – every 18 months.

The Gloria E. Anzaldúa Poetry Prize is awarded annually, in conjunction with the Anzaldúa Literary Trust, to a poet whose work explores how place shapes identity, imagination, and understanding. Special attention is given to poems that exhibit multiple vectors of thinking: artistic, theoretical, and social, which is to say, political. First place is publication by Newfound, including 25 contributor copies, and a $500 prize.

The National Women's Studies Association honors Anzaldúa, a valued and long-active member of the organization, with the annual Gloria E. Anzaldúa Book Prize, which is designated for groundbreaking monographs in women's studies that makes significant multicultural feminist contributions to women of color/transnational scholarship.

To commemorate what would have been Anzaldúa's 75th birthday, on September 26, 2017 Aunt Lute Books published the anthology Imaniman: Poets Writing in the Anzaldúan Borderlands edited by ire'ne lara silva and Dan Vera with an introduction by United States Poet Laureate Juan Felipe Herrera and featuring the work of 52 contemporary poets on the subject of Anzaldúa's continuing impact on contemporary thought and culture. On the same day, Google commemorated Anzaldúa's achievements and legacy through a Doodle in the United States.

Archives
Housed at the Nettie Lee Benson Latin American Collection at the University of Texas at Austin, the Gloria Evangelina Anzaldúa Papers, 1942-2004 contains over 125 feet of published and unpublished materials including manuscripts, poetry, drawings, recorded lectures, and other archival resources. AnaLouise Keating is one of the Anzaldúa Trust's trustees. Anzaldúa maintained a collection of figurines, masks, rattles, candles, and other ephemera used as altar (altares) objects at her home in Santa Cruz, California. These altares were an integral part of her spiritual life and creative process as a writer. The altar collection is presently housed by the Special Collections department of the University Library at the University of California, Santa Cruz.

Works

 * This Bridge Called My Back: Writings by Radical Women of Color (1981), co-edited with Cherríe Moraga, 4th ed., Duke University Press, 2015. ISBN 0-943219-22-1.
 * Borderlands/La Frontera: The New Mestiza (1987), 4th ed., Aunt Lute Books, 2012. ISBN 1-879960-12-5.
 * Making Face, Making Soul/Haciendo Caras: Creative and Critical Perspectives by Feminists of Color, Aunt Lute Books, 1990. ISBN 1-879960-10-9.
 * Interviews/Entrevistas, edited by AnaLouise Keating, Routledge, 2000. ISBN 0-415-92503-7.
 * This Bridge We Call Home: Radical Visions for Transformation, co-edited with AnaLouise Keating, Routledge, 2002. ISBN 0-415-93682-9.
 * The Gloria Anzaldúa Reader, edited by AnaLouise Keating. Duke University Press, 2009. ISBN 978-0-8223-4564-0.
 * Light in the Dark/Luz en lo Oscuro: Rewriting Identity, Spirituality, Reality, edited by AnaLouise Keating, Duke University Press, 2015. ISBN 978-0-8223-6009-4.

Children's books

 * Prietita Has a Friend (1991)
 * Friends from the Other Side/Amigos del Otro Lado (1995)
 * Prietita y La Llorona (1996)

General and cited references

 * Adams, Kate. "Northamerican Silences: History, Identity, and Witness in the Poetry of Gloria Anzaldúa, Cherríe Moraga, and Leslie Marmon Silko." Eds. Elaine Hedges and Shelley Fisher Fishkin. Listening to Silences: New Essays in Feminist Criticism. NY: Oxford UP, 1994. 130–145. Print.
 * Alarcón, Norma. "Anzaldúa's Frontera: Inscribing Gynetics." Eds. Smadar Lavie and Ted Swedenburg. Displacement, Diaspora, and Geographies of Identity. Durham: Duke UP, 1996. 41–52. Print
 * Alcoff, Linda Martín. "The Unassimilated Theorist." PMLA 121.1 (2006): 255–259 JSTOR. Web. August 21, 2012.
 * Almeida, Sandra Regina Goulart. "Bodily Encounters: Gloria Anzaldúa's Borderlands / La Frontera." Ilha do Desterro: A Journal of Language and Literature 39 (2000): 113–123. Web. August 21, 2012.
 * Anzaldúa, Gloria E., 2003. "La Conciencia de la Mestiza: Towards a New Consciousness", pp. 179–87, in Carole R. McCann and Seung-Kyung Kim (eds), Feminist Theory Reader: Local and Global Perspectives, New York: Routledge.
 * Bacchetta, Paola. "Transnational Borderlands. Gloria Anzaldúa's Epistemologies of Resistance and Lesbians 'of Color' in Paris." In El Mundo Zurdo: Selected Works from the Society for the Study of Gloria Anzaldúa 2007 to 2009, edited by Norma Cantu, Christina L. Gutierrez, Norma Alarcón and Rita E. Urquijo-Ruiz, 109–128. San Francisco: Aunt Lute, 2010.
 * Barnard, Ian. "Gloria Anzaldúa's Queer Mestizaje." MELUS 22.1 (1997): 35–53 JSTOR. Web. August 21, 2012.
 * Blend, Benay. "'Because I Am in All Cultures at the Same Time': Intersections of Gloria Anzaldúa's Concept of Mestizaje in the Writings of Latin-American Jewish Women." Postcolonial Text 2.3 (2006): 1–13. Web. August 21, 2012.
 * Keating, AnaLouise, and Gloria Gonzalez-Lopez, eds. Bridging: How Gloria Anzaldua's Life and Work Transformed Our Own (University of Texas Press; 2011), 276 pp.
 * Bornstein-Gómez, Miriam. "Gloria Anzaldúa: Borders of Knowledge and (re)Signification." Confluencia 26.1 (2010): 46–55 EBSCO Host. Web. August 21, 2012.
 * Capetillo-Ponce, Jorge. "Exploring Gloria Anzaldúa’s Methodology in Borderlands/La Frontera—The New Mestiza." Human Architecture: Journal of the Sociology of Self-Knowledge 4.3 (2006): 87–94 Scholarworks UMB. Web. August 21, 2012.
 * Castillo, Debra A.. "Anzaldúa and Transnational American Studies." PMLA 121.1 (2006): 260–265 JSTOR. Web. August 21, 2012.
 * David, Temperance K. "Killing to Create: Gloria Anzaldúa's Artistic Solution to 'Cervicide'" Intersections Online 10.1 (2009): 330–40. WAU Libraries. Web. July 9, 2012.
 * Donadey, Anne. "Overlapping and Interlocking Frames for Humanities Literary Studies: Assia Djebar, Tsitsi Dangarembga, Gloria Anzaldúa." College Literature 34.4 (2007): 22–42 JSTOR. Web. August 21, 2012.
 * Enslen, Joshua Alma. "Feminist prophecy: a Hypothetical Look into Gloria Anzaldúa's 'La Conciencia de la Mestiza: Towards a new Consciousness' and Sara Ruddick's 'Maternal Thinking.'" LL Journal 1.1 (2006): 53-61 OJS. Web. August 21, 2012.
 * Fishkin, Shelley Fisher. "Crossroads of Cultures: The Transnational Turn in American Studies--Presidential Address to the American Studies Association, November 12, 2004." American Quarterly 57.1 (2005): 17–57. Project Muse. Web. February 10, 2010.
 * Friedman, Susan Stanford. Mappings: Feminism and the Cultural Geographies of Encounter. Princeton, NJ: Princeton UP, 1998. Print.
 * Hartley, George. "'Matriz Sin Tumba': The Trash Goddess and the Healing Matrix of Gloria Anzaldúa's Reclaimed Womb." MELUS 35.3 (2010): 41–61 Project Muse. Web. August 21, 2012.
 * Hedges, Elaine and Shelley Fisher Fishkin eds. Listening to Silences: New Essays in Feminist Criticism. NY: Oxford UP, 1994. Print.
 * Hedley, Jane. "Nepantilist Poetics: Narrative and Cultural Identity in the Mixed-Language Writings of Irena Klepfisz and Gloria Anzaldúa." Narrative 4.1 (1996): 36–54 JSTOR. Web. August 21, 2012.
 * Herrera-Sobek, María. "Gloria Anzaldúa: Place, Race, Language, and Sexuality in the Magic Valley." PMLA 121.1 (2006): 266-271 JSTOR Web. August 21, 2012.
 * Hilton, Liam. "Peripherealities: Porous Bodies; Porous Borders: The 'Crisis' of the Transient in a Borderland of Lost Ghosts." Graduate Journal of Social Science 8.2 (2011): 97–113. Web. August 21, 2012.
 * Keating, AnaLouise, ed. EntreMundos/AmongWorlds: New Perspectives on Gloria Anzaldúa. New York: Palgrave MacMillan, 2005.
 * Keating, AnaLouise. Women Reading, Women Writing: Self-Invention in Paula Gunn Allen, Gloria Anzaldúa and Audre Lorde. Philadelphia: Temple University Press, 1996.
 * Lavie, Smadar and Ted Swedenburg eds. Displacement, Diaspora, and Geographies of Identity. Durham: Duke UP, 1996. Print.
 * Lavie, Smadar. "Staying Put: Crossing the Israel–Palestine Border with Gloria Anzaldúa." Anthropology and Humanism Quarterly, June 2011, Vol. 36, Issue 1. This article won the American Studies Association's 2009 Gloria E. Anzaldúa Award for Independent Scholars.
 * Mack-Canty, Colleen. "Third-Wave Feminism and the Need to Reweave the Nature/Culture Duality" pp. 154–79, in NWSA Journal, Fall 2004, Vol. 16, Issue 3.
 * Lioi, Anthony. "The Best-Loved Bones: Spirit and History in Anzaldúa's 'Entering into the Serpent.'" Feminist Studies 34.1/2 (2008): 73–98 JSTOR. Web. August 27, 2012.
 * Lugones, María. "On Borderlands / La Frontera: An Interpretive Essay." Hypatia 7.4 (1992): 31–37 JSTOR. Web. August 21, 2012.
 * Martinez, Teresa A.. "Making Oppositional Culture, Making Standpoint: A Journey into Gloria Anzaldúa's Borderlands." Sociological Spectrum 25 (2005): 539–570 Tayor & Francis. Web. August 21, 2012.
 * Negrón-Muntaner, Frances. "Bridging Islands: Gloria Anzaldúa and the Caribbean." PMLA 121,1 (2006): 272–278 MLA. Web. August 21, 2012.
 * Pérez, Emma. "Gloria Anzaldúa: La Gran Nueva Mestiza Theorist, Writer, Activist-Scholar" pp. 1–10, in NWSA Journal; Summer 2005, Vol. 17, Issue 2.
 * Ramlow, Todd R.. "Bodies in the Borderlands: Gloria Anzaldúa and David Wojnarowicz's Mobility Machines." MELUS 31.3 (2006): 169–187 JSTOR. Web. August 21, 2012.
 * Rebolledo, Tey Diana. "Prietita y el Otro Lado: Gloria Anzaldúa's Literature for Children." PMLA 121.1 (2006): 279–784 JSTOR. Web. April 3, 2012.
 * Reuman, Ann E. "Coming Into Play: An Interview with Gloria Anzaldua" p. 3, in MELUS; Summer 2000, Vol. 25, Issue 2.
 * Saldívar-Hull, Sonia. "Feminism on the Border: From Gender Politics to Geopolitics." Criticism in the Borderlands: Studies in Chicano Literature, Culture, and Ideology. Eds. Héctor Calderón and José´David Saldívar. Durham: Duke UP, 1991. 203–220. Print.
 * Schweitzer, Ivy. "For Gloria Anzaldúa: Collecting America, Performing Friendship." PMLA 121.1 (2006): 285–291 JSTOR. Web. August 21, 2012.
 * Smith, Sidonie. Subjectivity, Identity, and the Body: Women's Autobiographical Practices in the Twentieth Century. Bloomington, IN: IN UP, 1993. Print.
 * Solis Ybarra, Priscilla. "Borderlands as Bioregion: Jovita González, Gloria Anzaldúa, and the Twentieth-Century Ecological Revolution in the Rio Grande Valley." MELUS 34.2 (2009): 175–189 JSTOR. Web. August 21, 2012.
 * Spitta, Silvia. Between Two Waters: Narratives of Transculturation in Latin America (Rice UP 1995; Texas A&M 2006)
 * Stone, Martha E. "Gloria Anzaldúa" pp. 1, 9, in Gay & Lesbian Review Worldwide; January/February 2005, Vol. 12, Issue 1.
 * Vargas-Monroy, Liliana. "Knowledge from the Borderlands: Revisiting the Paradigmatic Mestiza of Gloria Anzaldúa." Feminism and Psychology 22.2 (2011): 261–270 SAGE. Web. August 24, 2012.
 * Vivancos Perez, Ricardo F. Radical Chicana Poetics. London and New York: Palgrave Macmillan, 2013.
 * Ward, Thomas. "Gloria Anzaldúa y la lucha fronteriza", in Resistencia cultural: La nación en el ensayo de las Américas, Lima, 2004, pp. 336–42.
 * Yarbro-Bejarano, Yvonne. "Gloria Anzaldúa's Borderlands / La Frontera: Cultural Studies, 'Difference' and the Non-Unitary Subject." Cultural Critique 28 (1994): 5–28 JSTOR. Web. August 21, 2012.

Further reading.

 * Manuel M. Martín-Rodríguez, "Gloria E. Anzaldúa"
 * Manuel M. Martín-Rodríguez, "Gloria E. Anzaldúa"
 * Manuel M. Martín-Rodríguez, "Gloria E. Anzaldúa"
 * Manuel M. Martín-Rodríguez, "Gloria E. Anzaldúa"

title: Gloria E. Anzaldúa


text: User talk:203.217.52.233

title: User talk:203.217.52.233


text:
Ucklum

Ucklum is a locality situated in Stenungsund Municipality, Västra Götaland County, Sweden with 255 inhabitants in 2010.

In Ucklum there is a beach, Bastevik, which is used a lot in the summer. It also has a local mountain called Ucklumberget.

Lättklinker Cement AB and Hercules have their workers in Ucklum.

title: Ucklum


text:
Proton Saga

The Proton Saga is a series of subcompact cars and currently city cars produced by Malaysian automobile manufacturer Proton. Introduced in 1985, the Proton Saga became the first Malaysian car and a major milestone in the Malaysian automotive industry. The Saga is Proton's longest-running and best-selling nameplate, with over 1.9 million units sold worldwide over 37 years (1985 to 2022).

The first generation Saga was developed as the result of a joint venture between HICOM and Mitsubishi Motors. It is based on the second generation Mitsubishi Lancer Fiore, and was available in 4-door saloon and 5-door hatchback guises. The second generation Proton Saga was unveiled on 18 January 2008. It is based on a stretched Proton Savvy platform and was developed in-house by Proton. The third generation Proton Saga was launched on 28 September 2016. It is based on the outgoing Saga FLX platform, and is powered by the Iriz's 1.3-litre VVT engine.

The name 'Saga' is an acronym for 'Safety, Achievement, Greatness, and Ability'. In Malay, 'Saga' refers to the hard red seed (abrus precatorius) of the Saga tree. The Proton Saga is also a well-known national symbol of Malaysia.

Proton Saga (1985–1992)
The Proton Saga saloon was launched on 9 July 1985. It is based on the second generation Mitsubishi Lancer Fiore platform, and powered by the 1.3-litre 4G13 Orion II engine. In January 1987, Proton introduced the 1.5-litre 4G15-powered Saga saloon.

The Proton Saga Magma was introduced in mid-1987, offering mild mechanical and cosmetic upgrades. A new hatchback variant called the Proton Saga Aeroback was launched in October 1987.

On 16 March 1989, Proton launched the Saga in the United Kingdom. The saloon models were renamed Proton 1.3 and Proton 1.5, while the hatchback versions featured additional 'Aeroback' badging. Proton advertised their models with the slogan "Japanese Technology, Malaysian Style". Proton later set the record for the 'Fastest selling make of new car ever to enter the United Kingdom', exceeding their 12-month sales target within 6 months. The Saga was aimed squarely at the value end of the market, and not only took sales away from the established Eastern European marques such as Lada and Skoda, but also attracted customers who traditionally bought Japanese, as brands such as Nissan and Toyota had moved up-market to compete with European offerings.

In August 1990, the Proton Saga Megavalve was launched in Malaysia. It was fitted with a more powerful 12-valve engine, and the exterior design was altered slightly with a new grille, trim and rims along with the inclusion of rear seat belts and a third brake light as standard. Proton launched the Saga Megavalve in the United Kingdom in January 1991, where it was renamed Proton 12-Valve.

Proton Saga Iswara (1992–2003)
On 15 August 1992, the Proton Saga Iswara (also known as the Proton Mpi or Proton Iswara in the United Kingdom) was launched. It was named after the great Helen butterfly (Papilio iswara) of Sarawak. It shared the platform found in the previous iteration, but received major exterior and interior changes. The Saga Iswara was available in four-door saloon and five-door hatchback guises and continued to be equipped with the 12-valve Mitsubishi Orion 1.3L and 1.5L engines. The saloon version of the Saga Iswara became Malaysia's preferred choice of taxi.

It continued to be exported to Europe until 1996, having been sold alongside the Persona (Wira) there since 1993.

In 2001, Proton introduced the Iswara Aeroback Special Edition. It was based on the Saga Iswara hatchback but included large exterior cosmetic changes and minor interior alterations. It was only available in silver, with manual transmission and the 1.3 litre 4G13 engine.

Proton Saga LMST (2003–2008)
The Proton Saga LMST hatchback was launched in 2003. It was based on the same platform found in the previous models. Nonetheless, it featured a modernized interior and major exterior modifications and improvements. The 1.3-litre Mitsubishi 4G13 carburettor engine was tuned to produce 83 bhp (62 kW). It was only available in two trim lines, limited to the 5-speed manual transmission.

The LMST is not equipped with airbags or ABS, and was sold in four colours; red, dark blue, grey and black.

Proton redesigned the exterior as well as the interior of the Saga LMST in favour of sportiness over practicality. The glove compartment is of the open-type, offering less storage space and the muffler produced more noise without any real gain in power. As a result, the Saga LMST became less appealing to the general population and sales plummeted significantly.

In late 2006, Proton updated the Saga LMST, offering mainly cosmetic exterior changes. It was only available in three colours, Black, Sunrise Orange and Silver, and was limited to the 4G13 1.3L engine, mated to a 5-speed manual transmission. Unlike the Black and Sunrise Orange colour, the Silver colour has a non-power steering, 13-inch steel rims and hubcaps, a cassette player instead of the CD player which is found on the Black and Sunrise Orange variants and the exhaust manifold from the 2003 Saga LMST instead. Proton introduced the Saga LMST, along with Wira, GEN•2 and Impian (Also known as Waja in Southeast Asian markets) to Pakistan on 15 September 2006.

On 4 March 2007, Proton launched the final facelift model of the first generation Proton Saga, the Proton Saga LMST 50th Merdeka Anniversary Edition. It was largely identical to the 2006 Saga LMST, but was sold at a discount price of RM26,999 as opposed to the former RM33,240 price. The promotion was made in view of Malaysia's 50th Merdeka celebrations and as a symbol of Proton's gratitude to their customers. That year, the Proton Saga became the second best selling car behind the Perodua MyVi.

Awards and accolades

 * Best Value Car of the Year (Proton Saga 1.5E Aeroback) - What Car? 1991
 * Best Value Popular New Cars - Auto Express 1992
 * Best Buy Family Car up to £10,000 - What Car? 1993

Proton Saga (2008–2010)
The second generation Proton Saga, also called the Saga BLM (Base Line Model) launched on 18 January 2008. It was indigenously designed unlike the first generation and launched with 3 variants which were priced between RM31,498 and RM39,998 respectively. All variants were powered by Proton's 1.3 litre CamPro IAFM engine. The new Saga was a great sales success for Proton, having received over 23,000 bookings in less than two weeks since launch. It also replaced the older Saga Iswara as Malaysia's taxi of choice from 2008 to 2010. The taxi variants were equipped with 1.6 litre 110 bhp CamPro engines and were later converted to natural gas vehicles.

The Proton Saga SE was unveiled in July 2009. It was sold as a premium variant with just two colour options and a unique body kit, mated to the CamPro 1.3 engine found in the other models. In that same month, Proton showcased the emission-free Saga EV Concept at Universiti Putra Malaysia in Serdang. Powered by a 125 kW (168 hp) DC motor mated to a 5-speed manual transmission, it had a maximum range of 109 kilometres (68 miles) and could be charged over a standard household outlet. On 24 December 2009, Proton launched the S16 in the Australian market. The S16 was identical to the Saga, but featured the more powerful 110 bhp CamPro 1.6 engine. At the time, it retailed for AUD$11,990, making it the cheapest new car in Australia.

Proton Saga FL (2010–2012)
On 30 November 2010, Proton unveiled the facelifted Proton Saga FL at the Thai International Motor Expo 2010. It received large exterior updates, but the technical specifications and interior remain mostly unchanged from the pre-facelift Saga.

The Saga FL was launched in Malaysia two weeks after it was unveiled in Thailand. It was sold in two trim lines and both were available with 4-speed automatic and 5-speed manual transmissions. Every Proton Saga FL came standard with 4 power windows. Later in May 2011, a more powerful model called the Proton Saga FL 1.6 Executive was launched.

Proton Saga FLX (2011–2016)
Eight months after the launch of the Saga FL, Proton added to its line-up the Saga FLX in which 'X' stands for extra. The FLX is available in two trim lines which can be mated to a choice of either manual or continuously variable transmission (CVT) drivetrains. The fine-tuned CamPro IAFM+ engine is utilized and there are options for dual airbags and anti lock braking (ABS) with electronic brakeforce distribution (EBD). The handling has been vastly improved with a new suspension setup which strikes a balance between ride comfort and handling performance. The exterior of the Saga FLX is identical to the Saga FL.

The Proton Saga FLX SE was launched on 30 November 2011. It is powered by a 108 hp CamPro IAFM+ 1.6 litre engine, paired to a CVT. Driver and passenger airbags as well as ABS with EBD are standard. The FLX SE is equipped with sportier kit and is only available in two colours, white and red.

The Saga FLX entered the Australian market in June 2012, where it was renamed the S16 FLX. It replaces the old S16 in Proton Australia's fleet. The S16 FLX comes in two variants, the GX and GXR, each with manual and CVT drivetrain options respectively, with dual airbags, ABS and EBD standard across the range.

On 15 June 2013, Proton introduced a new sub-variant of the Saga FLX, called the Saga SV. SV is an acronym for Super Value, with prices starting from just RM33,438 for the manual transmission variant. Despite the reduction in price, the Saga SV offers improved safety standards with dual airbags and a reinforced frame with only minimal exterior changes when compared to the Saga FLX Standard. The Saga Plus was produced in five colours, namely Tranquility Black, Fire Red, Genetic Silver, Solid White and Elegant Brown. Despite the added cosmetic upgrades, prices for the Saga Plus remained unchanged from the Saga SV, ranging from RM33,242 for the manual with solid paint to RM36,577 for the CVT with metallic paint, all of which were on-the-road prices with insurance. A three-year or 100,000 km warranty was also offered.

Awards and accolades

 * Best Compact / People's car of the Year – Asian Auto-VCA Auto Industry Awards 2008
 * Entry Level Category Winner – NST / Maybank COTY Awards 2008
 * Best Model of the Year (Malaysia) – Frost & Sullivan Asia Pacific 2009 Automotive Awards
 * Best Passenger Car Model of the Year – Frost & Sullivan Malaysia Excellence Award 2010
 * Best People's Car Award – Asian Auto–Auto Industry Awards 2011
 * Best Value Compact Sedan of the Year (NST/Maybank COTY Awards 2012)
 * Proton Saga SV awarded Debut Model of the Year during Frost & Sullivan Awards 2014

Third generation (BT3; 2016)
The third generation Proton Saga, codenamed P2-13A is an A-segment saloon engineered by Malaysian automobile manufacturer Proton. It was launched on 28 September 2016 as the successor to the second generation Proton Saga.

The third generation Saga is based on the outgoing Saga FLX platform, and is powered by the Iriz's 1.3-litre VVT engine producing 94 Hp. Proton has completely re-engineered the exterior design of the new Saga. Its interior has been revamped and refined with an emphasis on noise, vibration, and harshness reduction.

The third generation Saga is positioned as Proton's entry-level sedan, below the larger B-segment Persona. Safety standards have been improved with the introduction of electronic stability control (ESC) and a 20% stronger body structure. ASEAN NCAP has awarded a 4-star safety rating for the new Saga.

On 6 August 2019, an updated Proton Saga was launched at the Malaysia International Trade and Exhibition Centre in Kuala Lumpur. It's considered as minor change internally but as a facelift to the general public. The car now includes design cues from the Proton X70, Proton Iriz and the Proton Persona which includes the new "infinite weave," a pattern inspired by batik and Malaysian wood carvings. The naturally aspirated DOHC VVT engine is no longer paired to a CVT made by Punch Powertrain, but a four-speed torque converter automatic gearbox sourced from Hyundai. The Executive variant was dropped with the range consisting of Standard MT, Standard AT and Premium AT. The 2019 Saga also saw the air conditioning vents moved down to allow space for 'floating' head units which included a head unit that runs a modified version of Android for the Premium variant. The Saga now starts at a lowered price of RM32,800 for the manual transmission variant and up to RM39,800 which is almost RM2,000 lower than the pre-facelift version.

On 9 July 2020, the Saga Anniversary Edition was launched to celebrate Proton's 35th year in the automotive industry. It featured optional skirts around the car, darkened alloy wheels and yellow accents in and out.

On 18 February 2021, the Saga R3 Limited Edition was launched alongside the Iriz R3 Limited Edition, Persona Black Edition and Exora Black Edition. It is only limited to 2,000 units. The looks are almost the same with the Anniversary edition with the exception of some R3 body stickers and windshield stickers.

On 12 May 2022, Proton launched yet another revision of the updated Proton Saga. This time, it gains a new variant called the Premium S and that gets new kit like a keyless entry and start system, automatic folding mirrors, a black and red theme inside and leatherette-wrapped steering and seats. The latter in a semi leatherette and fabric upholstery combo.

Awards and accolades

 * Rising Star Award Car - Asean NCAP Grand Prix Award 2016
 * Value-For-Money Car - Malaysia Car of the Year 2016
 * Compact Sedan of the Year - DSF.my Allianz Vehicle of the Year (VOTY) 2017)
 * Best 3 City Cars of Malaysia - Aurizn Awards 2018 'Cars of Malaysia'
 * Budget Car (Bronze Winner) - Carlist.my People's Choice Awards 2018
 * Best Compact Sedan (below RM70K) - CarSifu Editors’ Choice Awards 2019

title: Proton Saga


text: Category:Education in Malaysia

title: Category:Education in Malaysia