Thursday, May 8, 2014

Psychiatric Care in the 1930s: The Lobotomy's Origins

 

Although it had come a long way from the days of simply restraining and locking away the mentally ill, psychiatric care in the 1930s was still very limited. There was essentially no treatment for schizophrenic patients, for example. Psychiatrists attempted to treat their symptoms by prescribing drugs like sedatives, which suppressed the patient's nervous system, and trying a number of different mind-body therapies.


Schizophrenics received hydrotherapy in the form of hot or cold baths for hours at a time. There were also a few different types of shock therapy: insulin, Metrazol and electroconvulsive therapy (ECT). All of these therapies induced seizures in patients. Many psychiatrists claimed that these therapies worked by "shocking" patients out of their illness. Others believed that there was a connection between schizophrenia and epilepsy  -- a patient who had the former, even if it was induced, couldn't have the latter.


These treatments didn't generally cure schizophrenics, depressives and others of their mental illness; most were in and out of hospitals or ultimately spent their entire lives inside them. In addition, hospitals in the United States were overcrowded -- by 1940, there were around 1 million patients and the population was growing by 80 percent per year.Conditions were also deteriorating due to a lack of funding during the Depression. Public hospitals were understaffed and patients were often left without any kind of treatment. People embraced the idea of a speedy, simple cure and were hopeful that surgery could provide it.


In 1933, two neurologists at Yale Primate Laboratory, Dr. John Fulton and Dr. Carlyle Jacobson, performed experiments on two monkeys named Becky and Lucy. After testing the monkeys' intelligence, the doctors removed half of their brains' frontal lobes and then retested them. They seemed to retain their skills and intelligence. Fulton and Carlyle then removed the other half of the monkeys' frontal lobes. Becky's and Lucy's personalities changed -- they no longer became violent and frustrated when they didn't immediately get their treats after completing a test. The monkeys could still complete the tests, although not quite as well.


Dr. Moniz saw Fulton present his work at a conference in 1935. He saw similarities between the monkeys' behavior prior to their surgery and the behavior of his mentally ill patients. Moniz concluded that he could perform a slightly different operation on people to separate their emotions and thoughts while retaining their intelligence. He and his colleague Dr. Lima performed numerous experiments on cadavers brains before attempting a lobotomy on a live patient. After perfecting his technique, Moniz claimed success -- his lobotomized patients were serene and no longer anxious.
The following year, Moniz shared his findings in medical journals and at conferences, to a mixed reception. Some psychiatrists were very upset at the idea that a surgery that destroyed healthy brain tissue could cure mental illness. Accepting psychosurgery also meant acknowledging that other forms of therapy, such as the growing field of psychoanalysis, may not work.


Still, many psychiatrists and neurologists were intrigued, Dr. Walter Freeman among them. His championing of the surgery eventually included a traveling "lobotomobile," a customized van in which he demonstrated his technique to the press as well as doctors at mental hospitals. He liked to show off by entering both eye sockets at one time with two different orbitoclasts. Critics likened Freeman to an evangelist for the cause, while supporters claimed that getting a lobotomy was as safe and easy as getting a filling at the dentist. When Howard Dully received the records of the lobotomy performed on him as a child, he discovered that it had cost his parents less than $200. Lobotomies cleared overcrowded hospitals, and unlike other psychiatric care, it promised immediate results.
However, the so-called "lobotomy revolution" lasted less than 20 years.

Source: How Stuff Works

Wednesday, May 7, 2014

Who's Who - Osa Johnson


And finally for the Who's Who of Chamber Music we come to Osa Johnson.

I find the fact that Osa 's  story has largely been forgotten by history. Pearl White while I had not heard of by her name, I had heard of 'The Perils of Pauline" But Osa...nothing. I had no clue.

But...

When I was a kid, on Sunday afternoons, there use to be on  channel 13 "Jungle Theater" Lots of Tarzan movies, I was raised by the TV, so I rarely missed one.  If you have a knowledge of  those old films you will remember the insert shots. the stock nature shots, of lions on the savanna, or monkeys in the trees, those were more often than not shot by the Johnsons.

Since she was a videographer, I thought a video was the correct way to go. , I am going to simply put this link here, and let you see her for yourselves. It's a good place to begin.

https://www.youtube.com/watch?v=M-U_5Q4CHlM'



Who's Who - Constanze Mozat



Constanze (Weber) came from a family which music was in their genetics  had two older sisters,  and one younger one, all were trained as singers, her older sisters Josepha and Aloysia both went on to distinguished musical careers, performing later on in the premieres of a number of Mozart's works.


Originally Mozart fell in love with  her sister Aloysia, but  she rejected Mozart. 4 years later, while Mozart was staying with the Weber family, it became apparent that he was courting the then 19 year old Constanze.


Surviving correspondence indicates that Mozart and Constanze briefly broke up in April 1782, over an episode involving jealousy (Constanze had permitted another young man to measure her calves in a parlor game


His father thought Constanze was below his brilliant son.


She gave birth 6 times in the 9 years they were married, only two survived childhood.


Constanze was a trained musician and played a role in her husband's career. Two instances can be given:


The extraordinary writing for soprano solo in the Great Mass in C minor (for example, in the "Christe eleison" section of the Kyrie movement, or the aria "Et incarnatus est") was intended for Constanze, who sang in the 1783 premiere of this work in Salzburg.


Mozart wrote in a letter to his sister:
"... When Constanze heard the fugues, she absolutely fell in love with them. Now she will listen to nothing but fugues...Well, as she has often heard me play fugues out of my head, she asked me if I had ever written any down, and when I said I had not, she scolded me roundly for not recording some of my compositions in this most artistically beautiful of all musical forms and never ceased to entreat me until I wrote down a fugue for her."


The experience of writing in Baroque style had an important influence on Mozart's later work, in the C Minor Mass as well as in later secular works, such as the opera The Magic Flute.


 Mozart's died in1791, leaving debts and placing Constanze in a difficult position. A single parent to two boys, it was only then that Constanze's business skills became apparent: she obtained a pension from the Emperor, organized profitable memorial concerts, and embarked on a campaign to publish her husband's works. These efforts eventually made Constanze financially secure, even well-off.


She eventually remarried a Danish diplomat and writer  Georg Nissen who worked with Constanze on a biography of Mozart; which she eventually published it in 1828, two years after her second husband's death.