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Actress Cleavage Biography
Rachel Emily Nichols (born January 8, 1980) is an American actress and model. Nichols began modeling while attending Columbia University in New York City in the late 1990s. She transitioned into television and film acting in the early 2000s; she had a bit part in the romantic drama film Autumn in New York (2000) and a one-episode role in the fourth season of the hit show Sex and the City (2002).
Her first major role was in the comedy film Dumb and Dumberer: When Harry Met Lloyd (2003). She had the main role in the crime drama television series The Inside (2005), though it was cancelled after one season. Nichols gained recognition playing Rachel Gibson in the final season of the serial action television series Alias (2005–2006) and for her role in the horror film The Amityville Horror (2005).
Nichols' first starring film role was in the horror–thriller P2 (2007). She had a supporting role in the coming-of-age film The Sisterhood of the Traveling Pants 2 (2008) and appeared in Star Trek (2009). She starred in the action film G.I. Joe: The Rise of Cobra (2009) and the sword and sorcery film Conan the Barbarian (2011). She currently plays the lead role of Kiera Cameron in the science fiction television series Continuum, which will return for a second season in 2013.
Contents  [hide]
1 Early life and modeling
2 Acting career
2.1 2000–2005
2.2 2006–present
3 Personal life
4 Filmography
5 References
6 External links
[edit]Early life and modeling

Rachel Nichols was born in Augusta, Maine, to Jim, a schoolteacher,[1] and Alison Nichols. She attended Cony High School, where she competed in the high jump.[2] Nichols said in an interview that she was not "the hot chick in high school" and her mother would euphemistically refer to her as "'a late bloomer', which meant that I had uncontrollable arms and legs, I had very long appendages. I took several years of very highly structured dance classes for me to be able to control myself."[3] Upon graduating in 1998, she enrolled at Columbia University in New York City, aiming for a career as a Wall Street analyst. She was noticed by a modeling agent during lunch one day and was invited to work in Paris; she eventually paid her tuition with the proceeds from her modeling work.[1] She worked on advertising campaigns for Abercrombie & Fitch, Guess?, and L'Oreal;[4] she also hosted several MTV specials.[5] Nichols studied economics and psychology,[6] as well as drama, graduating from Columbia in 2003[2] with a double major in math and economics.[7][8]
Nichols said in September 2008 that "[t]he modeling shoes have been hung up. We now move on to endorsements."[2]
[edit]Acting career

[edit]2000–2005
Nichols had done commercial work and had a bit part as a model in the romantic drama film Autumn in New York (2000)[5] when her modeling agent helped her get a one-episode role in the fourth season of Sex and the City (2002). She later said she had "never really done a proper audition before", and added that "I had such fun [filming on set], that day actually made me want to pursue [acting] more seriously."[9] Later that year she was cast in her first major film role as Jessica, a dogged student newspaper reporter, in Dumb and Dumberer: When Harry Met Lloyd (2003). Although the film was panned by critics,[10] making it was a learning experience for Nichols. She said, "I was a sponge for the entire time I was in Atlanta [during filming] and freely admitted that I had no idea what was going on. I had never done a big film before, I had never been the lead in a film before and any advice anyone wanted to give me, I was more than willing to take."[3] The following year, Nichols played a member of a high school debate team in the independent film Debating Robert Lee (2004) and had a two-episode role in the crime drama television series Line of Fire (2004), which was cancelled after 11 of 13 produced episodes were broadcast. By August 2004, she was cast in supporting roles in the horror films The Amityville Horror (2005) and The Woods (2006).[11]
In late February 2004, Nichols was cast in a starring role in a then-untitled drama pilot for the Fox Broadcasting Company (Fox). According to Variety, her character was to be "a DEA agent who goes undercover at a high school".[12] Todd and Glenn Kessler were developing the series, ultimately titled The Inside. The pilot they produced did not satisfy studio executives, however, and Tim Minear was brought in to create a new pilot for the series in late September 2004, replacing the Kesslers as executive producer and showrunner.[13] The Inside was originally supposed to air midseason, but the new pilot itself was reshot and the series was pushed back. The new concept made Nichols' character a rookie FBI agent assigned to the FBI's Los Angeles Violent Crimes Unit. The series premiered in June 2005 and critical reception was mixed; it had been scheduled opposite the popular Dancing with the Stars on ABC, and due to low ratings six of the 13 produced episodes were aired.[14] It was not picked up for further episodes.
Following The Inside, Nichols found work on the fifth season of the serial action series Alias in 2005, being cast that July.[4] Nichols starred as Rachel Gibson, a computer expert who thought she was working for the CIA when in fact she was working for a dangerous terrorist organization—a situation similar to that of the series' main character Sydney Bristow (Jennifer Garner) the first season. Discovering the truth, Gibson joins the real CIA and becomes Bristow's protégé. Of working on Alias, Nichols said that "to say it's the nicest set on the planet is an understatement".[15] Her role involved multiple fight sequences, as did Garner's. Nichols worked with Garner's personal trainer;[15] she said she "already knew that [Garner's] job was extremely hard. But I didn't know how difficult it was until I started training for just one fight."[16] Nichols was being groomed to replace Garner as the main character due to the latter's pregnancy,[1] which had been written into the storyline. But Alias was cancelled in November 2005, making its fifth season its final.[17] "I think everybody knew that the show wouldn't work without Jennifer", Nichols said, "But still, they were grooming me, so it was heartbreaking when it happened."[1]
She had a small role in the 2005 romantic drama Shopgirl and played the babysitter of George and Kathy Lutz's children in The Amityville Horror (2005). For the latter role she was nominated for the Teen Choice Award for Choice Movie Scream Scene[18] and the MTV Movie Award for Best Frightened Performance.[19] She later revealed that she almost did not audition for the film due to her fear of dogs. "[Producer] Michael Bay has these gigantic [dogs]. [...] And, when I went to audition for The Amityville Horror, I went into his offices and literally these three huge dogs were there, and I almost turned around. I was like, 'No, I'm not going to read for this film.' I actually used the dogs in my audition to think of what would scare me the most."[20] The Amityville Horror received generally negative reception from critics,[21] but was a commercial success.[22]
[edit]2006–present


Nichols at a premiere for G.I. Joe: The Rise of Cobra, July 2009
The Woods, which had been shelved for some 18 months,[23] was released directly-to-video in October 2006.[24] The film opened to favorable reviews[25] and critics acclaimed the individual performances of the actors. Nichols had a small part in the drama film Resurrecting the Champ (2007), in which she played the assistant to a sportswriter (Josh Hartnett) who believes he has found a former boxing legend (Samuel L. Jackson) living homeless on the streets. Also that year, Nichols had a bit part in the fact-based political drama Charlie Wilson's War (2007) and was cast in a new science fiction drama television series Them,[26] which was ultimately not picked up by Fox.[27]
Her first starring film role was in the 2007 horror–thriller P2, in which she played a businesswoman who becomes trapped inside a public parking garage with a deranged security guard. About the dress her character wears for much of the film, Nichols said, "When I read the script originally, it wasn't a dress, it was a small nightgown with no bra or underwear. Then I read the first scene where she gets wet, and I went: 'OK, this has got to be altered!'"[1] Nichols said in an interview that among the rules established in her contract were: "I will not get wet and show nipples" in addition to no nudity.[28] A bra was sewn into the "Marilyn Monroe dress" she wore in the film. She said, "I wasn't going to run around for two months without a bra, I thought that was inappropriate. But in place of the nipples there's clearly a lot of cleavage. So we made a compromise."[28] P2 was generally disliked by critics.[29] Reviewer James Berardinelli said that her performance was "admirable, although one wonders whether she was cast more for her physical assets than her acting ability."[30] John Anderson of Variety wrote that "Nichols is in territory well trod over the years by everyone from Fay Wray and Grace Kelly to Heather Langenkamp, the terrified but gutsy heroine, who in this case has been chloroformed and put into a sheer white evening dress by her abductor—who must have anticipated that his captive would try to escape in an elevator, which he could then fill with water. (Nichols' considerable physical attributes, henceforth, seem to occupy most of the screen.) She's sympathetic, hysterical when required and likeable."[31]
Nichols had a supporting role in The Sisterhood of the Traveling Pants 2 (2008), playing a jealous friend of co-star America Ferrera's character. Overall, the film was well received by critics.[32] Roger Ebert commented that Nichols as her character Julia "proves a principle that should be in the Little Movie Glossary: If a short, curvy, sun-kissed heroine [Ferrera] has a tall, thin blond as a roommate, that blond is destined to be a bitch. No way around it."[33] Stephen Holden, writing for The New York Times, similarly said, "It falls to Ms. Nichols to play the movie's designated blond baddie, a cold, arrogant vixen who tries to undermine [Ferrera's character's] triumphs in romance and onstage."[34] Nichols was cast in Star Trek (2009) in November 2007, but due to the project's secrecy her role was initially unknown even to her; she said that month she did not even know her character's name. It was speculated that she would play Janice Rand,[35] but she would actually play an Orion cadet at Starfleet Academy, as revealed by TrekMovie.com the following month.[36]
Nichols was cast as Shana "Scarlett" O'Hara in the live-action film adaptation of the G.I. Joe franchise G.I. Joe: The Rise of Cobra (2009) in late 2007.[8] She later said that she accepted director Stephen Sommers' offer for the role without having read the actual script. "I'd heard from other people that the script was quite good. And then when I finally got to read it myself ... I really, really liked it ... I liked that there were two kick-ass female roles. And I liked the fact that it wasn't just a big action movie ... And there was comedy in it. I was genuinely really happily surprised when I read the script."[37] She put on approximately 15 pounds (6.8 kg) of muscle for the role and trained in mixed martial arts with co-star Sienna Miller for some of the film's action sequences.[37] Nichols was burned by a flame during the filming of a fight scene with Miller.[38] Like The Amityville Horror, G.I. Joe: The Rise of Cobra was not well received by most critics,[39] but performed well at the box office.[40] Richard Corliss of Time wrote that Nichols had "an appealing manner and comely biceps" as Scarlett O'Hara and took notice of her "savory girl fight with Sienna Miller, as the mostly villainous Baroness."[41]
After G.I. Joe, Nichols' next project was the direct-to-video horror film For Sale by Owner in which her character was Anna Farrier. Variety reported in October 2009 that Nichols had been cast to star in The Loop (released as A Bird of the Air), in which she would play "a librarian who joins a highway patrolman to uncover the mysteries behind the cryptic sayings spoken by an ancient parrot."[42] She starred as Leslie Spencer in the 2010 independent crime drama film Meskada, which premiered at the Tribeca Film Festival and had no domestic distributor as of April 2010.[43] However, the film received a limited release on December 3, 2010 in the United States.[44] Nichols was cast in the upcoming 3-D sword and sorcery film Conan the Barbarian by March 2010.[45] She portrayed the character of Tamara, who is a master of martial arts and has been trained to be the queen's servant, and she is also the potential Conan's love interest.[46] The film got released on August 19, 2011,[47] to mixed to negative reviews.[48] The film was a box office bomb.[49]
Deadline reported that Nichols had been promoted to a series regular on CBS's Criminal Minds.[50] However it was later informed that Nichols had been let go from the show.[51] She appeared in the action film Alex Cross, which, in addition of gaining negative reviews,[52] premiered with a disappointing $11.4m opening weekend gross.[53] Nichols is currently starring in the Canadian television series Continuum. The show centres on the conflict between a police officer and a group of rebels from the year 2077 who time-travel to Vancouver, BC in the year 2012. It premiered on Showcase on May 27, 2012.[54] The first season consists of 10 episodes.[54] The pilot brought 900,000 viewers, becoming the highest single episode ever on the network.[55] The show was renewed for a second season in August 2012 and will enter into production in early 2013.[56]
[edit]Personal life

Nichols married film producer Scott Stuber on July 26, 2008, in Aspen, Colorado. Nichols allowed her hair to return to its natural blond color for the ceremony, as it had been dyed red for her consecutive roles in Star Trek and G.I. Joe: The Rise of Cobra. She later noted that it was the first time she had ever dyed her hair.[2] They were working on building a home in Cabo San Lucas shortly after their honeymoon.[2] In February 2009, Nichols and Stuber separated due to irreconcilable differences.
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Cleavage Actress Biography
Jayne Mansfield (born Vera Jayne Palmer; April 19, 1933 – June 29, 1967) was an American actress in film, theatre, and television, a nightclub entertainer, a singer, and one of the early Playboy Playmates. She was a major Hollywood sex symbol of the 1950s and early 1960s. Mansfield was 20th Century Fox's alternative Marilyn Monroe and came to be known as the Working Man's Monroe. She was also known for her well-publicized personal life and publicity stunts.[1][2]
Mansfield became a major Broadway star in 1955, a major Hollywood star in 1956, and a leading celebrity in 1957.[3] She was one of Hollywood's original blonde bombshells,[4] and although many people have never seen her movies, Mansfield remains one of the most recognizable icons of 1950s celebrity culture.[5] With the decrease of the demand for big-breasted blonde bombshells and the increase in the negative backlash against her over-publicity, she became a box-office has-been by the early 1960s.[3]
While Mansfield's film career was short-lived, she had several box office successes and won a Theatre World Award and a Golden Globe. She enjoyed success in the role of fictional actress Rita Marlowe in both the 1955–1956 Broadway version, and, in the 1957 Hollywood film version of Will Success Spoil Rock Hunter?. She showcased her comedic skills in The Girl Can't Help It (1956), her dramatic assets in The Wayward Bus (1957), and her sizzling presence in Too Hot to Handle (1960). She also sang for studio recordings, including the album Shakespeare, Tchaikovsky & Me and the singles Suey and As the Clouds Drift by (with Jimi Hendrix). Mansfield's notable television work included television dramas Follow the Sun and Burke's Law, game shows The Match Game and What's My Line?, variety shows The Jack Benny Program and The Bob Hope Show, the The Ed Sullivan Show, and a large number of talk shows.
By the early 1960s, Mansfield's box office popularity had declined and Hollywood studios lost interest in her. Some of the last attempts that Hollywood took to publicize her were in The George Raft Story (1961) and It Happened in Athens (1962).[3] But, towards the end of her career, Mansfield remained a popular celebrity, continuing to attract large crowds outside the United States and in lucrative and successful nightclub acts (including The Tropicana Holiday and The House of Love in Las Vegas), and summer-theater work. Her film career continued with cheap independent films and European melodramas and comedies, with some of her later films being filmed in United Kingdom, Italy, Germany, and Greece.[6] In the sexploitation film Promises! Promises! (1963), she became the first major American actress to have a nude starring role in a Hollywood motion picture.
Mansfield took her professional name from her first husband, public relations professional Paul Mansfield, with whom she had a daughter. She was the mother of three children from her second marriage to actor–bodybuilder Mickey Hargitay. She married her third husband, film director Matt Cimber in 1964, and separated from him in 1966. Mansfield and Cimber had a son. In 1967 Mansfield died in a car accident at the age of 34.
Contents  [hide]
1 Early life and education
2 Early career
3 Film career
3.1 Career beginnings (1954–55)
3.2 Film stardom (1955–58)
3.3 Career decline (1959–63)
3.4 Final years (1964–67)
4 Stage career
4.1 Theater
4.2 Nightclub
5 Television career
6 Music career
6.1 Soundtracks
6.2 Live performances
6.3 Albums
6.4 Singles
7 Personal life
7.1 First marriage
7.2 Second marriage
7.3 Third marriage
7.4 Religion
8 Death
9 Recognition
10 Image
10.1 Blonde
10.2 Rivalry
10.3 Anatomy
11 Publicity
11.1 Publicity stunts
11.2 Signature color
12 Legacy
12.1 Estate
12.2 Following
13 Notes
14 See also
15 Biographies
15.1 Internet
15.2 Books
15.3 Video
16 Citations
17 External links
[edit]Early life and education

Jayne Mansfield was born Vera Jayne Palmer on April 19, 1933 in Bryn Mawr, Pennsylvania. She was the only child of Herbert William (1904–1936), of German ancestry, and Vera Jeffrey Palmer (1903–2000), of English descent.[7] Vera Jeffrey's father, Elmer E Palmer, was from the largely Cornish area of Pen Argyl, Pennsylvania,[8] where he was involved with the slate industry.[9] She inherited more than $90,000 from her maternal grandfather Elmer ($716,000 in 2013 dollars[10]) and more than $36,000 from her maternal grandmother Alice Jane Palmer in 1958 ($286,000 in 2013 dollars).[9][11] Jayne spent her early childhood in Phillipsburg, New Jersey,[12] where her father was an attorney who practiced with future New Jersey governor Robert B. Meyner. In 1936, when Jayne was three years old, Herbert William died of a heart attack while driving a car with his wife and daughter. Following his death, Jayne's mother worked as a teacher. In 1939 Vera Palmer married sales engineer Harry Lawrence Peers and the family moved to Dallas, Texas,[13] where Jayne was known as Vera Jayne Peers.[14][15] As a child she wanted to be a Hollywood star like Shirley Temple like many other young girls of her time.[16][17][18]
Jayne graduated from Highland Park High School in 1950.[19][20][21][22] While in high school, Jayne took lessons in violin, piano and viola. She also studied Spanish and German.[23][24] She consistently received high Bs in school (including in mathematics).[25] At the age of 12, she also took lessons in ballroom dance.[26] She married Paul James Mansfield on May 10, 1950. Their daughter, Jayne Marie Mansfield, was born on November 8, 1950. After marriage, Jayne and Paul enrolled in Southern Methodist University to study acting, where lacking finances to afford day care, carried around her daughter Jayne Marie.[6][27][28] In 1951, she moved to Austin, Texas, with Paul Mansfield, and studied dramatics at the University of Texas at Austin, until her junior year.[20][21][22][27] While attending the University of Texas, she worked as a nude model for art classes, sold books door-to-door, and worked in the evenings as receptionist of a dance studio.[29][30][31] While studying and trying to earn a living, she joined the Curtain Club and was active at the Austin Civic Theater.[30] The Curtain Club was a happening campus theatrical society at that time and featured Tom Jones, Harvey Schmidt, Rip Torn, and Pat Hingle among its members.[30][32][33]
In 1952, she moved back to Dallas and for several months, became a student of actor Baruch Lumet, who was father of director Sidney Lumet and founder of the newly founded and now defunct Dallas Institute of Performing Arts.[34][35][36] Lumet called Jayne and Rip Torn his "kids", and seeing her potential, provided her private lessons.[20][37] Then she spent a year at Camp Gordon, Georgia (a US Army training facility) while Paul Mansfield served in the United States Army Reserve in the Korean War.[31] They moved to Los Angeles in 1954, where Jayne studied Theater Arts at UCLA during the summer,[20][21] and returned to Texas to spend the fall quarter at Southern Methodist University.[3] She managed to maintain a B grade average, between a variety of odd jobs, including selling popcorn at the Stanley Warner Theatre, checking hats, teaching dance,[38] vending candy at a movie theater (where she caught the eye of a TV producer),[6] part-time modelling at the Blue Book Model Agency (where Marilyn Monroe was first noticed),[39] and working as a photographer at Esther Williams' nightclub, the Trail.[3][27][34] At The Trails she earned $6 plus 10% of her sales ($51 in 2013 dollars[10]) each evening taking pictures of patrons.[34] Frequent references have been made to Mansfield's very high IQ, which she claimed was 163.[40] She spoke five languages, including English. She spoke fluent French and Spanish, German that she learned in high school, and she studied Italian in 1963.[41] Reputed to be Hollywood's "smartest dumb blonde", she later complained that the public did not care about her brains: "They're more interested in 40–21–35," she said.[28][42]
[edit]Early career

Jayne Mansfield
Playboy centerfold appearance
February, 1955
Preceded by Bettie Page
Succeeded by Marilyn Waltz
Personal details
Measurements Bust: 40 in (102 cm)[43]
Waist: 21 in (53 cm)[43]
Hips: 35 in (89 cm)[43]
Height 5 ft 6 in (1.68 m) (5 ft 8 in, according to her autopsy)
While attending the University of Texas at Austin, Mansfield won several beauty contests, including: Miss Photoflash, Miss Magnesium Lamp, and Miss Fire Prevention Week. The only title she refused was Miss Roquefort Cheese, because she believed it, "...just didn't sound right."[44] Mansfield accepted a bit part in a B-grade film titled Prehistoric Women (produced by Alliance Productions, alternatively titled The Virgin Goddess) in 1950.[31] In 1952, while in Dallas, she and Paul Mansfield participated in small local-theater productions of The Slaves of Demon Rum and Ten Nights in a Barroom, and Anything Goes in Camp Gordon, Georgia. After Paul Mansfield left for military service, Mansfield first appeared on stage in a production of Arthur Miller's Death of a Salesman on October 22, 1953, with the players of the Knox Street Theater, headed by Lumet.[3]
While at UCLA she entered the Miss California contest (hiding her marital status), and won the local round before withdrawing.[31] She also won many small and local beauty pageants, including Miss Photoflash, Miss Magnesium Lamp, Miss Fire Prevention Week, Gas Station Queen, Miss Analgesin, Cherry Blossom Queen, Miss Third Platoon, Miss Blues Bonnet of Austin, Miss Direct Mail, Miss Electric Switch, Miss Fill-er-up, Miss Negligee, Nylon Sweater Queen, Miss One for the Road, Miss Freeway, Hot Dog Ambassador, Miss Electric Switch, Miss Geiger Counter, Best Dressed Woman of Theater, Miss 100% Pure Maple Syrup, Miss July Fourth, Miss Texas Tomato, Miss Standard Foods, Miss Orchid, Miss Potato Soup, Miss Lobster, Miss United Dairies and Miss Chihuahua Show.[45][46][47]
Early in her career, her prominent breasts were considered problematic, and led to her loosing her first professional assignment—an advertising campaign for General Electric that depicted young women in bathing suits relaxing around a pool.[48] Emmeline Snively, head of the Blue Book Model Agency, had sent her to photographer Gene Lester, which led to her short-lived assignment in the General Electric commercial.[34] In 1954, she auditioned at both Paramount Pictures and Warner Bros. for a part in The Seven Year Itch, but failed to impress.[3] She also auditioned at paramount for Joan of Arc—a project that never completed—and failed again.[49][50] That year, she landed her first acting assignment in Lux Video Theatre, a series on CBS (An Angel Went AWOL, October 21, 1954).[3] In the show, she sat at the piano and delivered a few lines of dialogue for $300 ($3,000 in 2013 dollars[10]).[51]
She posed nude for the February 1955 issue of Playboy, modelling in pyjamas raised so that the bottoms of her breasts showed. This increased the magazine's circulation and helped launch Mansfield's career.[52][53][54] Playboy had begun publishing from publisher–editor Hugh Hefner's kitchen in 1953, but became popular in the first decade of publication—riding on the popularity of its early Playmates like Mansfield, Marilyn Monroe, Bettie Paige, and Anita Ekberg.[55][56] Beginning in February 1955, She formed a long-standing relationship with Playboy. Shortly afterward, she posed for the Playboy calendar covering her breasts with her hands. Playboy featured Jayne every February from 1955 to 1958, and again in 1960.[54]
In August 1956, Paul Mansfield claimed custody of their daughter claiming Jayne was an unfit mother because she appeared nude in the Playboy.[57] In 1964, the magazine repeated the pictorial.[54] Photos from that pictorial were reprinted in a number of Playboy issues, including: December 1965 ("The Playboy Portfolio of Sex Stars"), January 1979 ("25 Beautiful Years"), January 1984 ("30 Memorable Years"), January 1989 ("Women Of The Fifties"), January 1994 ("Remember Jayne"), November 1996 ("Playboy Gallery"), August 1999 ("Playboy's Sex Stars of the Century"; Special edition), and January 2000 ("Centerfolds Of The Century"). In the week following her first Playboy appearance, Mansfield caught Hollywood and media attention by dropping her bikini-top at a press junket for the Jane Russell film Underwater.
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Cleavage Of Actress Biography
Bhanurekha Ganesan (born 10 October 1954), better known by her stage name Rekha, is an Indian actress who has mainly appeared in Hindi films. Noted for her versatility and acknowledged as one of the finest actresses in Hindi cinema,[1] Rekha started her career in 1966 as a child actress in the Telugu movie Rangula Ratnam, though her film debut as a lead happened four years later with Sawan Bhadon (1970). Despite the success of several of her early films, she was often panned for her looks and it was not until the mid-to-late 1970s that she got recognition as an actress. Since the late 1970s, after undertaking a physical transformation, she has been featured as a sex symbol in the Indian media.[2]
Rekha has acted in over 180 films in a career spanning over 40 years. Throughout her career, she has often played strong female characters and, apart from mainstream cinema, appeared in arthouse films, known in India as parallel cinema. She has won three Filmfare Awards, two for Best Actress and one for Best Supporting Actress, for her roles in Khubsoorat (1980), Khoon Bhari Maang (1988) and Khiladiyon Ka Khiladi (1996), respectively. Her portrayal of a classical courtesan in Umrao Jaan (1981) won her the National Film Award for Best Actress. Though her career has gone through certain periods of decline, she has reinvented herself numerous times and has been credited for her ability to sustain her status.[3]
Contents  [hide]
1 Early life
2 Film career
2.1 1970s
2.2 1980s
2.3 1990s
2.4 2000s
3 Personal life
4 Image and artistry
5 Selected filmography
6 See also
7 Footnotes
8 References
9 External links
[edit]Early life

Rekha was born in Chennai (then Madras) to Tamil actor Gemini Ganesan and Telugu actress Pushpavalli. Her father enjoyed considerable success as an actor and Rekha was to follow in his footsteps.[4] Her mother tongue is Telugu.[5]
Her parents were not married, and her father did not acknowledge his paternity during her childhood.[4] It was in early 1970s, when she was looking for a footing in Bollywood, that she revealed her origins. Later, at the peak of her career, Rekha told a magazine interviewer that her father's neglect still rankled and that she had ignored his efforts at reconciliation.[4] Rekha quit school in order to start a career in acting. She did not have any personal aspirations in this direction, but the troubled financial state of her family compelled her to do so.[6]
[edit]Film career

[edit]1970s
Rekha appeared as a child actress (credited as Baby Bhanurekha) in the Telugu film Rangula Ratnam (1966). Rekha made her debut as heroine in the successful Kannada film Goa dalli CID 999 with Rajkumar in 1969.[4] In that same year, she starred in her first Hindi film, Anjana Safar. She later claimed that she was tricked into a kissing scene with the leading actor Biswajit for the overseas market,[7] and the kiss made it to the Asian edition of Life magazine.[8] The film ran into censorship problems, and would not be released until almost a decade later in 1979 (retitled as Do Shikaari).[9]
As she had no interest in acting and was basically forced to work in order to sustain her family financially, this was a difficult period in her life. Still a teenager, acclimatizing herself to her new surroundings was an uneasy process. Coming from the South, she did not speak Hindi and struggled to communicate with co-workers, and was constantly missing her mother, who was critically ill. Moreover, she was required to follow a strict diet. Recalling this phase, Rekha was later quoted as saying (Reacting to it, many years later, she said, "I'm healed, I am not bitter anymore, I don't think I ever was."),
Bombay was like a jungle, and I had walked in unarmed. It was one of the most frightening phases of my life... I was totally ignorant of the ways of this new world. Guys did try and take advantage of my vulnerability. I did feel,"What am I doing? I should be in school, having an ice-cream, fun with my friends, why am I even forced to work, deprived of normal things that a child should be doing at my age?" Every single day I cried, because I had to eat what I didn't like, wear crazy clothes with sequins and stuff poking into my body. Costume, jewelery would give me an absolute terrible allergy. Hair spray wouldn't go off for days even despite all my washing. I was pushed, literally dragged from one studio to another. A terrible thing to do to a 13 year-old child.[10]
She had two films released in 1970: the Telugu film Amma Kosam and the Hindi film Sawan Bhadon, which was considered her acting debut in Bollywood. She had to learn Hindi, as that was not her naturally spoken language.[11][12] Sawan Bhadon became a hit, and Rekha — a star overnight.[4] Despite the success of the film, she was often scorned for her looks. She subsequently got several offers but nothing of substance, as her roles were mostly just of a glamour girl.[6] She appeared in several commercially successful films at the time, including Raampur Ka Lakshman (1972), Kahani Kismat Ki (1973), and Pran Jaye Par Vachan Na Jaye (1974), yet she was not regarded for her acting abilities and—according to Tejaswini Ganti—"the industry was surprised by her success as her dark complexion, plump figure, and garish clothing contradicted the norms of beauty prevalent in the film industry and in society."[4][6] Rekha recalls that the way she was perceived at that time motivated her to change her appearance and improve her choice of roles: "I was called the ‘Ugly Duckling’ of Hindi films because of my dark complexion and South Indian features. I used to feel deeply hurt when people compared me with the leading heroines of the time and said I was no match for them. I was determined to make it big on sheer merit."[13]
This period marked the beginning of Rekha's physical transformation. She started paying attention to her make-up, dress sense, and worked to improve her acting technique and perfect her Hindi-language skills. In order to lose weight, she followed a nutritious diet, led a regular, disciplined life, and practiced yoga, later recording albums to promote physical fitness. According to Khalid Mohamed, "The audience was floored when there was a swift change in her screen personality, as well as her style of acting."[14] She began choosing her film roles with more care; her first performance-oriented role came in 1976 when she played Amitabh Bachchan's ambitious and greedy wife in Do Anjaane.[15] An adaptation of Nihar Ranjan Gupta's Bengali novel Ratrir Yatri, the film was directed by Dulal Guha and became a reasonable success with audiences and critics.[4]
Her most significant turning point, however, came in 1978, with her portrayal of a rape victim in the movie Ghar. She played the role of Aarti, a newly married woman who gets gravely traumatised after being gang-raped. The film follows her character's struggle and recuperation with the help of her loving husband, played by Vinod Mehra. The film was considered her first notable milestone,[6] and her performance was applauded by both critics and audiences. Dinesh Raheja from Rediff, in an article discussing her career, remarked, "Ghar heralded the arrival of a mature Rekha. Her archetypal jubilance was replaced by her very realistic portrayal..."[8] She received her first nomination for Best Actress at the Filmfare Awards.[4][16]
In that same year, she attained fame with Muqaddar Ka Sikander, in which she co-starred once again with Amitabh Bachchan. The movie was the biggest hit of that year, as well as one of the biggest hits of the decade, and Rekha was set as one of the most successful actresses of these times.[17] The film opened to a positive critical reception, and Rekha's performance as a courtesan named Zohra, noted for a "smouldering intensity", earned her a Best Supporting Actress nomination at the Filmfare.[4][16]
[edit]1980s
In 1980, Rekha appeared in the comedy Khubsoorat, directed by Hrishikesh Mukherjee, with whom she had developed a strong father-daughter bond during their previous collaborations. In a role written specially for her, she played Manju Dayal, a young vivacious woman who visits her recently-married sister at her in-law's house and tries to bring joy to the wide family, much to the displeasure of the matriarch of the household.[18] Rekha said she easily identified with the bubbly nature of her character, calling it "quite a bit me".[19] Khubsoorat was a success and Rekha was appreciated for her comic timing.[15] It won the Filmfare Award for Best Movie and Rekha won her first Best Actress award. The Tribune described the film as "a lively comedy," noting that "Rekha’s spunky performance gives the film its natural zing."[20] Film World magazine reported in that same year, "Rekha's done it. Smoothly, successfully. From a plump, pelvis-jerking, cleavage-flashing temptress, she has metamorphosed into a sleek, accomplished actress. Gone are most of the inane mannerisms, pouts, wiggles and giggles." It further noted that her career prospects had begun to improve significantly, as leading filmmakers had started taking more notice of her and become more keen to cast her in their films.[21]
Rekha went on to star opposite Bachchan in a number of films, most of which were hits. She also had an alleged off-screen relationship with him, which was widely reported on in the media, as well as sharply criticised, as he was a married man.[22] This relationship ended in 1981, when they starred in Yash Chopra's drama Silsila.[22] The film was the most scandalous of their films together; Rekha played Bachchan's love interest, while Bachchan's real-life wife, Jaya Bhaduri, played his wife. This was their last film together.[22]


Rekha in Silsila (1981)
Critics noted Rekha for having worked hard to perfect her Hindi and acting, and media reporters often discussed how she had transformed herself from a "plump" duckling to a "swan" in the early 1970s. Rekha's credits to this transformation were yoga, a nutritious diet, and a regular, disciplined life. In 1983, her diet and yoga practice were published in a book called "Rekha's Mind and Body Temple".[23]
In 1981, she starred in Umrao Jaan, a film adaptation of the Urdu novel Umrao Jaan Ada (1905), written by Mirza Hadi Ruswa. Rekha played the title role of a courtesan and poetess from 19th century Lucknow. The film follows Umrao's life story right from her days as a young girl named Amiran when she is kidnapped and sold in a brothel. Rekha once confessed, "After reading the script, I had a strange feeling that I had Umrao in me." In preparation for the role, Rekha, who at the beginning of her career did not speak Hindi, took the task of learning the finer nuances of the Urdu language.[11] Director Muzaffar Ali later noted that "Rekha has given more than my conception of the role."[18] The response to her work was universally positive. Her portrayal is considered to be one of her career-best performances, and she was awarded the National Film Award for Best Actress for it.[15][24] She played a courtesan with a heart of gold in several of her films; Muqaddar Ka Sikandar and Umrao Jaan were followed by a number of films which had her playing similar roles.
In that same year, Rekha starred in Ramesh Talwar's family drama Baseraa, which saw her playing a woman who marries her sister's husband, after the latter loses her mental balance. She appeared as Sadhna in the commercially successful Ek Hi Bhool (1981), opposite Jeetendra, playing the role of a betrayed wife who leaves her husband. In 1982, she received another Filmfare nomination for Jeevan Dhaara, in which she played a young unmarried woman who is the sole breadwinner of her extended family. In 1983, she took the supporting role of a lawyer in Mujhe Insaaf Chahiye, garnering another Filmfare nomination in the Supporting Actress category.
During this period, Rekha was willing to expand her range beyond what she was given in mainsteam films. She started working in arthouse pictures with independent directors, mostly under Shashi Kapoor's production, in what was used to be referred to as parallel cinema, an Indian New Wave movement known for its serious content and neo-realism. Her venture into this particular genre started off with Umrao Jaan, and was followed by other such films as Shyam Benegal's award-winning drama, Kalyug (1981), Govind Nihalani's Vijeta (1982), Girish Karnad's Utsav (1984) and Gulzar's Ijaazat (1987), among others. Benegal's Kalyug is a modern-day adaptation of the Indian mythological epic Mahabharat, depicted as an archetypal-conflict between rival business houses. Rekha's role was that of Supriya, a character based on Draupadi. Benegal said he decided to cast her in the role after seeing her work in Khubsoorat, besides noticing that she was "very keen, very serious about her profession".[18] Critic and author Vijay Nair described her performance as "a masterful interpretation of the modern Draupadi".[25] In Vijeta she played a woman who struggles through her marital problems and tries to support her adolescent son, who, undecided about his future plans, eventually decides to join the Indian Air Force.[15] She described her performance in the film as one of her favourite from her own repertoire. For her portrayal of Vasantsena in Utsav, an erotic comedy based on the fourth-century Sanskrit play Mrichhakatika (The Little Clay Cart), she was acknowledged as the Best Actress (Hindi) of the year by the Bengal Film Journalists' Association. Maithili Rao wrote for "Encyclopaedia of Hindi Cinema", "Rekha — forever the first choice for the courtesan's role, be it ancient Hindu India or 19th-century Muslim Lucknow — is all statuesque sensuality..."[26] In Gulzar's drama Ijaazat, Rekha and Naseeruddin Shah star as a divorced couple who meet unexpectedly for the first time after years of separation at a railway station, and recall together their life as a married couple and the conflicts which brought to their ultimate split.
Apart from parallel cinema, Rekha took on other increasingly serious, even adventurous roles; she was among the early actresses to play lead roles in heroine-oriented films, one such film being Khoon Bhari Maang in 1988. She won her second Filmfare Award for her performance in the film. Rekha went on to describe Khoon Bhari Maang as "the first and only film I concentrated and understood all throughout."[27] One critic wrote about her performance in the film, "Rekha as Aarti is just flawless and this is one of her best performances ever! In the first half as the shy and not so sexy Aarti she is excellent and after the plastic surgery as the model and femme fatale she is excellent too. Some scenes show that we are watching an actress of a very high calibre here."[28] M.L. Dhawan from The Tribune, while documenting the famous Hindi films of 1988, remarked that Khoon Bhari Maang was "a crowning glory for Rekha, who rose like a phoenix ... and bedazzled the audience with her daredevilry."[29] Encyclopædia Britannica's Encyclopædia of Hindi Cinema listed her role in the film as one of Hindi cinema's memorable female characters, noting it for changing "the perception of the ever-forgiving wife, turning her into an avenging angel."[30] In a similar list by Screen magazine, the role was included as one of "ten memorable roles that made the Hindi film heroine proud."[31]
In later interviews, Rekha often described the moment she received the Filmfare Award for this role as a turning point, explaining that only then did she start genuinely enjoying her work and seeing it as more than "just a job": "...when I went up on the stage, and received my award for Khoon Bhari Maang... Boom, it hit me! That's the first time I realised the value of being an actor and how much this profession meant to me." In 2011 she further stated, "I felt even more charged to give my best and knew right then, that this was my calling, what I was born to do, to make a difference in people's lives, through my performances."[32][33]
[edit]1990s
The 1990s saw a drop in Rekha's success. She was part of several commercially and critically unsuccessful films, in spite of doing even more challenging roles. Critics, however, noted that unlike most of the actresses of her generation, like Hema Malini and Raakhee, who began playing character parts of mothers and aunts, Rekha was still playing leading roles at the time when heroines such as Sridevi and Madhuri Dixit rose to fame.[11]
Some of her most notable films during the decade include Kama Sutra: A Tale of Love and Khiladiyon Ka Khiladi (1996). Kama Sutra, a foreign production directed by Mira Nair, was an erotic drama and many felt it would damage Rekha's career, as Rekha played a Kama Sutra teacher in the film.[3] Khiladiyon Ka Khiladi, an action film directed by Umesh Mehra, was a major financial success, becoming one of the highest-grossing Indian films of the year.[34] It featured Rekha in her first negative role as Madam Maya, a vicious gangster woman running a secret business of illegal wrestling matches in the US, who, during the course of the film, romances the much younger Akshay Kumar. Her portrayal earned her several awards, including the Filmfare Award for Best Supporting Actress and the Star Screen Award for Best Villain. In spite of the positive response to her performance from both fans and critics, she often maintains she did not like herself in the film, noting that her work was not up to her own, personal standards.[35][36]
Another controversial film at that time was Aastha: In the Prison of Spring (1997), where Basu Bhattacharya, making the last film of his career, cast her as a housewife who moonlights as a prostitute. While her performance earned her positive notices and a Star Screen Award nomination, she was criticised by the audience for the nature of the part, to which she later replied, "...people had a lot to say about my role... I don't have problems playing anything. I've reached a stage where I could do justice to any role that came my way. It could be role of a mother, a sister-in-law; negative, positive, sensational or anything."[37]
[edit]2000s
In the 2000s, Rekha appeared in relatively few movies, usually in supporting mother roles. She started the decade with Bulandi, directed by Rama Rao Tatineni.
In 2001, Rekha appeared in Rajkumar Santoshi's feminist drama Lajja, an ensemble piece inspired by a true incident of a woman being raped in Bawanipur two years before.[38] The film follows the journey of a runaway wife (Manisha Koirala) and unfolds her story in three main chapters, each one presenting the story of a woman at whose place she stops. Rekha was the protagonist of the final chapter, around which the film's inspiration revolves, playing Ramdulari, an oppressed Dalit village woman and social activist who becomes a victim of gangrape. Speaking of the film, Rekha commented, "I am Lajja and Lajja is me".[39] Highly praised for her portrayal, she received several nominations for her work, including a Best Supporting Actress nomination at Filmfare. Taran Adarsh wrote that "it is Rekha who walks away with the glory, delivering one of the finest performances the Indian screen has seen in the recent times."[40][41]
In Rakesh Roshan's science-fiction film Koi... Mil Gaya, Rekha played Sonia Mehra, a single mother to a developmentally disabled young man, played by Hrithik Roshan. The movie was a financial and critical success and became the most popular film of the year; it won the Filmfare Award for Best Movie, among others.[42] Rekha received another Best Supporting Actress nomination at the Filmfare for her performance, which Khalid Mohamed described as "astutely restrained".[43]
In Bachke Rehna Re Baba (2005), Rekha played a con woman who, along with her niece, uses one scheme to rob men of their property. The film was a major critical failure.[44] Mid Day remarked, "why Rekha chose to sign this film is a wonder," noting that she is "riddled with bad dialogue, terrible cakey makeup and tawdry styling".[45] This was followed in 2006 by Kudiyon Ka Hai Zamana, a poorly-received sex comedy about four female friends and their personal troubles. In a scathing review, Indu Mirani noted that "Rekha hams like she was never going to do another film."[46] In a 2007 article by Daily News and Analysis, critic Deepa Gahlot directed an advice to Rekha: "Please pick movies with care, one more like Bach Ke Rehna Re Baba and Kudiyon Ka Hai Zamana and the diva status is under serious threat."[47]
In 2006, she reprised the role of Sonia Mehra in Krrish, Rakesh Roshan's sequel to Koi... Mil Gaya. In this superhero feature, the story moves 20 years forward and focuses on the character of Sonia's grandson Krishna (played again by Hrithik Roshan), whom she has brought up single-handedly after the death of her son Rohit, and who turns out to have supernatural powers. Krrish became the second-highest grossing picture of the year and, like its prequel, was declared a blockbuster.[48] It received mostly positive notices from critics, and Rekha's work earned her another Filmfare nomination in the supporting category. Ronnie Scheib from Variety noted her for bringing "depth to her role as the nurturing grandmother".[49]
In 2007, she once again portrayed a courtesan in Gautam Ghose's Yatra. Unlike the initial success she experienced in playing such roles in the early stages of her career, this time the film failed to do well. In 2010, Rekha was awarded the Padma Shri, the 4th highest civilian award given by the Government of India.
Rekha has also been nominated as a Rajya Sabha member. She currently is the member of the Rajya Sabha (May 2012).[50]
[edit]Personal life

In 1990, Rekha married Delhi-based industrialist Mukesh Aggarwal. A year later—while she was in the US—he committed suicide, after several previous attempts, leaving a note, "Don't blame anyone".[51] She was pilloried by the press at that time, a period which one journalist termed as "the deepest trough in her life."[52] She was rumoured to have been married to actor Vinod Mehra in 1973, but in a 2004 television interview with Simi Garewal she denied being married to Mehra referring to him as a "well-wisher". Rekha currently lives in her Bandra home in Mumbai.
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Amazing Cleavage Biography
Paul Cleave (born 10 December 1974) is an author from New Zealand.
Contents  [hide]
1 Life
2 Writing
3 Bibliography
4 Reviews
5 References
6 External links
[edit]Life

Born in Christchurch, Cleave worked as a pawnbroker for seven years before he turned his full attention to being writer. He had previously written a couple of unpublished manuscripts, penning his first unpublished novel as a 19-year-old, and since his earliest days at school he wanted to be a writer.[1]
Although he had wanted to be a writer since he was a child, he did not receive very good feedback about his writing from teachers or his high school report cards, with one stating there was a time and place for his kind of writing, and school was not it.[2]
At nineteen, Cleave was writing novel-length manuscripts that "will never be allowed out of the bottom drawer". He spent several years working as a pawnbroker, working on various unpublished novels in his spare time.[3]
[edit]Writing

A year before leaving his job as a pawnbroker he began work on what would become his first two published novels, The Killing Hour and The Cleaner.[4]
His first published novel, The Cleaner, was released by Random House in 2006 and became an international bestseller with sales exceeding 250,000.[5] It was the top-selling crime/thriller title for 2007 on Amazon in Germany. It was also shortlisted for the Ned Kelly Awards for Crime Writing.[6]
His second novel, The Killing Hour was published in 2007, and his third, Cemetery Lake in 2008. In September 2008, Cleave appeared on a crime writing panel at The Press Christchurch Writers Festival alongside fellow New Zealand crime writer Vanda Symon and acclaimed British author Mark Billingham.[7]
In September 2009, Cleave's novel Cemetery Lake was published in the United Kingdom by Arrow Books. When talking about setting his books in Christchurch in an article in Crime Time magazine, Cleave said: "Christchurch is a great setting for crime – it has two sides to it, there's the picture perfect setting you see on postcards everywhere, but there's also a dark, Gotham City feel here which has, sadly, turned this city into the murder capital of New Zealand. I love making Christchurch a character for the books, creating an 'alternate' version of the city, where the main character often muses that 'Christchurch is broken'."[8]
His fourth novel, Blood Men, was released in February 2010.[9]
In 2011, Paul was nominated as a finalist in the Ngaio Marsh Best Crime Novel Award, alongside fellow authors, Neil Cross, Paddy Richardson, and Greg Mckee aka Alix Bosco. Paul won the award for the book Blood Men which was released in 2010.[10]
His fifth novel, entitled Collecting Cooper (2011), is again set in his home town of Christchurch (the setting for all his novels) and sees the return of Theodore Tate, who was introduced in Cemetery Lake.
His sixth novel, The Laughterhouse (2012), features Theodore Tate tracking down a crime that started 15 years earlier when he was a rookie officer.
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Cleavage 4 Biography
In embryology, cleavage is the division of cells in the early embryo. The zygotes of many species undergo rapid cell cycles with no significant growth, producing a cluster of cells the same size as the original zygote. The different cells derived from cleavage are called blastomeres and form a compact mass called the morula. Cleavage ends with the formation of the blastula.
Depending mostly on the amount of yolk in the egg, the cleavage can be holoblastic (total or entire cleavage) or meroblastic (partial cleavage). The pole of the egg with the highest concentration of yolk is referred to as the vegetal pole while the opposite is referred to as the animal pole.
Cleavage differs from other forms of cell division in that it increases the number of cells without increasing the mass. This means that with each successive subdivision, the ratio of nuclear to cytoplasmic material increases.[1]
Contents  [hide] 
1 Mechanism
2 Types of cleavage
2.1 Determinate
2.2 Indeterminate
2.3 Holoblastic
2.4 Meroblastic
3 Mammals
4 See also
5 References
6 External links
[edit]Mechanism

The rapid cell cycles are facilitated by maintaining high levels of proteins that control cell cycle progression such as the cyclins and their associated cyclin-dependent kinases (cdk). The complex Cyclin B/cdc2 a.k.a. MPF (maturation promoting factor) promotes entry into mitosis.
The processes of karyokinesis (mitosis) and cytokinesis work together to result in cleavage. The mitotic apparatus is made up of a central spindle and polar asters made up of polymers of tubulin protein called microtubules. The asters are nucleated by centrosomes and the centrosomes are organized by centrioles brought into the egg by the sperm as basal bodies. Cytokinesis is mediated by the contractile ring made up of polymers of actin protein called microfilaments. Karyokinesis and cytokinesis are independent but spatially and temporally coordinated processes. While mitosis can occur in the absence of cytokinesis, cytokinesis requires the mitotic apparatus.
The end of cleavage coincides with the beginning of zygotic transcription. This point is referred to as the midblastula transition and appears to be controlled by the nuclear:cytoplasmic ratio (about 1/6).
[edit]Types of cleavage

[edit]Determinate
Determinate is the form of cleavage in most protostomes. It results in the developmental fate of the cells being set early in the embryo development. Each cell produced by early embryonic cleavage does not have the capacity to develop into a complete embryo.
[edit]Indeterminate
A cell can only be indeterminate if it has a complete set of undisturbed animal/vegetal cytoarchitectural features. It is characteristic of deuterostomes - when the original cell in a deuterostome embryo divides, the two resulting cells can be separated, and each one can individually develop into a whole organism.
[edit]Holoblastic
In the absence of a large concentration of yolk, four major cleavage types can be observed in isolecithal cells (cells with a small even distribution of yolk) or in mesolecithal cells (moderate amount of yolk in a gradient) - bilateral holoblastic, radial holoblastic, rotational holoblastic, and spiral holoblastic, cleavage.[2] These holoblastic cleavage planes pass all the way through isolecithal zygotes during the process of cytokinesis. Coeloblastula is the next stage of development for eggs that undergo these radial cleavaging. In holoblastic eggs the first cleavage always occurs along the vegetal-animal axis of the egg, the second cleavage is perpendicular to the first. From here the spatial arrangement of blastomeres can follow various patterns, due to different planes of cleavage, in various organisms.
Bilateral
The first cleavage results in bisection of the zygote into left and right halves. The following cleavage planes are centered on this axis and result in the two halves being mirror images of one another. In bilateral holoblastic cleavage, the divisions of the blastomeres are complete and separate; compared with bilateral meroblastic cleavage, in which the blastomeres stay partially connected.
Radial
Radial cleavage is characteristic of the deuterostomes, which include some vertebrates and echinoderms, in which the spindle axes are parallel or at right angles to the polar axis of the oocyte.
Rotational
Mammals display rotational cleavage, and an isolecithal distribution of yolk (sparsely and evenly distributed). Because the cells have only a small amount of yolk, they require immediate implantation onto the uterine wall in order to receive nutrients.
Rotational cleavage involves a normal first division along the meridional axis, giving rise to two daughter cells. The way in which this cleavage differs is that one of the daughter cells divides meridionally, whilst the other divides equatorially.
Spiral
Spiral cleavage is conserved between many members of the lophotrochozoan taxa, referred to as Spiralia.[3] Most spiralians undergo equal spiral cleavage, although some undergo unequal cleavage (see below).[4] This group includes annelids, molluscs, and sipuncula. Spiral cleavage can vary between species, but generally the first two cell divisions result in four macromeres, also called blastomeres, (A, B, C, D) each representing one quadrant of the embryo. These first two cleavages are oriented in planes that occur at right angles parallel to the animal-vegetal axis of the zygote.[3] At the 4-cell stage, the A and C macromeres meet at the animal pole, creating the animal cross-furrow, while the B and D macromeres meet at the vegetal pole, creating the vegetal cross-furrow.[5] With each successive cleavage cycle, the macromeres give rise to quartets of smaller micromeres at the animal pole.[6][7] The divisions that produce these quartets occur at an oblique angle, an angle that is not a multiple of 90o, to the animal-vegetal axis.[7] Each quartet of micromeres is rotated relative to their parent macromere, and the chirality of this rotation differs between odd and even numbered quartets, meaning that there is alternating symmetry between the odd and even quartets.[3] In other words, the orientation of divisions that produces each quartet alternates between being clockwise and counterclockwise with respect to the animal pole.[7] The alternating cleavage pattern that occurs as the quartets are generated produces quartets of micromeres that reside in the cleavage furrows of the four macromeres.[5] When viewed from the animal pole, this arrangement of cells displays a spiral pattern.


D quadrant specification through equal and unequal cleavage mechanisms. At the 4-cell stage of equal cleavage, the D macromere has not been specified yet. It will be specified after the formation of the third quartet of micromeres. Unequal cleavage occurs in two ways: asymmetric positioning of the mitotic spindle, or through the formation of a polar lobe (PL).
Specification of the D macromere and is an important aspect of spiralian development. Although the primary axis, animal-vegetal, is determined during oogenesis, the secondary axis, dorsal-ventral, is determined by the specification of the D quadrant.[7] The D macromere facilitates cell divisions that differ from those produced by the other three macromeres. Cells of the D quadrant give rise to dorsal and posterior structures of the spiralian.[7] Two known mechanisms exist to specify the D quadrant. These mechanisms include equal cleavage and unequal cleavage.
In equal cleavage, the first two cell divisions produce four macromeres that are indistinguishable from one another. Each macromere has the potential of becoming the D macromere.[6] After the formation of the third quartet, one of the macromeres initiates maximum contact with the overlying micromeres in the animal pole of the embryo.[6][7] This contact is required to distinguish one macromere as the official D quadrant blastomere. In equally cleaving spiral embryos, the D quadrant is not specified until after the formation of the third quartet, when contact with the micromeres dictates one cell to become the future D blastomere. Once specified, the D blastomere signals to surrounding micromeres to lay out their cell fates.[7]
In unequal cleavage, the first two cell divisions are unequal producing four cells in which one cell is bigger than the other three. This larger cell is specified as the D macromere.[6][7] Unlike equally cleaving spiralians, the D macromere is specified at the four-cell stage during unequal cleavage. Unequal cleavage can occur in two ways. One method involves asymmetric positioning of the cleavage spindle.[7] This occurs when the aster at one pole attaches to the cell membrane, causing it to be much smaller than the aster at the other pole.[6] This results in an unequal cytokinesis, in which both macromeres inherit part of the animal region of the egg, but only the bigger macromere inherits the vegetal region.[6] The second mechanism of unequal cleavage involves the production of an enucleate, membrane bound, cytoplasmic protrusion, called a polar lobe.[6] This polar lobe forms at the vegetal pole during cleavage, and then gets shunted to the D blastomere.[5][6] The polar lobe contains vegetal cytoplasm, which becomes inherited by the future D macromere.
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