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Hawaii Five-O (1968 TV series)
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This article is about the original TV series. For the remake, see Hawaii Five-0 (2010 TV series). For other uses, see Hawaii Five-O.
Hawaii Five-O
Genre
Police procedural
Created by
Leonard Freeman
Starring
Jack Lord
James MacArthur
Kam Fong
Gilbert Lani Kauhi, a.k.a., Zulu
Al Harrington
Herman Wedemeyer
William Smith
Sharon Farrell
Moe Keale
Doug Mossman
Danny Kamekona
Theme music composer
Morton Stevens
Composer(s)
Bruce Broughton
John Cacavas
James Di Pasquale
Harry Geller
Ernest Gold
Les Hooper
Jerrold Immel
Mundell Lowe
Don B. Ray
George Romanis
Pete Rugolo
Walter Scharf
Richard Shores
Fred Steiner
Morton Stevens
Country of origin
United States
Original language(s)
English
No. of seasons
12
No. of episodes
279 (list of episodes)
Production
Executive producer(s)
Leonard Freeman
Philip Leacock
Leonard Katzman
Bill Finnegan[1]
Production location(s)
Honolulu, Hawaii
Running time
42–49 minutes
Production company(s)
Leonard Freeman Productions
CBS Productions
Distributor
Viacom Enterprises
(1981–1983)
CBS Television Distribution[2]
Release
Original network
CBS
Original release
September 20, 1968 (1968-09-20) – April 5, 1980 (1980-04-05)
Chronology
Related shows
Hawaii Five-0
External links
Website
Hawaii Five-O is an American police procedural drama series produced by CBS Productions and Leonard Freeman. Set in Hawaii, the show originally aired for 12 seasons from 1968 to 1980, and continues in reruns. At the airing of its last episode it was the longest-running police drama in American television history.
Jack Lord portrayed Detective Captain Steve McGarrett, the head of a special state police task force which was based on an actual unit that existed under martial law in the 1940s.[3] The theme music composed by Morton Stevens became especially popular. Many episodes would end with McGarrett instructing his subordinate to "Book 'em, Danno!", sometimes specifying a charge such as "murder one".
Contents
1 Overview
2 Creation of the show
2.1 Casting
3 Characters
3.1 Recurring
3.2 Pilot cast
4 Production
5 Credits
6 Legacy
6.1 Remake projects
6.2 Theme music
6.3 Slang term for police
7 Episodes
8 Broadcast history
8.1 Syndication
9 Awards and nominations
9.1 Emmys
10 Streaming media
11 Home releases
12 Other media
13 References
14 External links
Overview[edit]
The CBS television network produced Hawaii Five-O, which aired from September 20, 1968, to April 5, 1980. The program continues to be broadcast in syndication worldwide. Created by Leonard Freeman, Hawaii Five-O was shot on location in Honolulu, Hawaii, and throughout the island of Oahu and other Hawaiian islands with occasional filming in locales such as Los Angeles, Singapore, and Hong Kong.
The show centers on a fictional state police force led by former US naval officer Steve McGarrett (played by Jack Lord), a detective captain, who is appointed by the Governor, Paul Jameson. In the show, McGarrett oversees state police officers – the young Danny Williams, veteran Chin Ho Kelly, and streetwise Kono Kalakaua for seasons one through four. Honolulu Police Department Officer Duke Lukela joined the team as a regular, as did Ben Kokua, who replaced Kono beginning with season five. Occasionally, McGarrett's Five-O team is assisted by other officers as needed: Douglas Mossman as Det. Frank Kamana, P.O. Sandi Wells (Amanda McBroom), medical examiner Doc Bergman (Al Eben), forensic specialist Che Fong (Harry Endo), and a secretary. The first secretary was May, then Jenny, and later Malia, Lani and Luana.[4]
The Five-O team consists of three to five members (small for a real state police unit), and is portrayed as occupying a suite of offices in the Iolani Palace.[5] Five-O lacks its own radio network, necessitating frequent requests by McGarrett to the Honolulu Police Department dispatchers.
For 12 seasons, McGarrett and his team hounded international secret agents, criminals, and organized crime syndicates plaguing the Hawaiian Islands. With the aid of District Attorney and later Hawaii's Attorney General John Manicote, McGarrett is successful in sending most of his enemies to prison. One such crime syndicate was led by crime family patriarch Honore Vashon, a character introduced in the fifth season. Other criminals and organized crime bosses on the islands were played by actors such as Ricardo Montalbán, Gavin MacLeod, and Ross Martin as Tony Alika.
By the 12th and final season, series regular James MacArthur had left the show (in 1996, he admitted that he had become tired of the role and wanted to do other things), as had Kam Fong. Unlike other characters before him, Fong's character, Chin Ho, at Fong's request, was killed off, murdered while working undercover to expose a protection ring in Chinatown in the last episode of season 10. New characters Jim 'Kimo' Carew (William Smith), Lori Wilson (Sharon Farrell), and Truck (Moe Keale) were introduced in season 12 alongside returning regular character Duke Lukela.[4]
Most episodes of Hawaii Five-O ended with the arrest of criminals and McGarrett snapping, "Book 'em." The offense occasionally was added after this phrase, for example, "Book 'em, murder one." In many episodes, this was directed to Danny Williams and became McGarrett's catchphrase: "Book 'em, Danno." [6]
Jack Lord played Steve McGarrett.
McGarrett's tousled yet immaculate hairstyle, as well as his proclivity for wearing a dark suit and tie on all possible occasions (uncommon in the islands), rapidly entered popular culture. While the other members of Five-O "dressed mainland" much of the time, they also often wore local styles, such as the ubiquitous Aloha shirt.
In many episodes (including the pilot), McGarrett is drawn into the world of international espionage and national intelligence. McGarrett's nemesis is a rogue intelligence officer of the People's Republic of China named Wo Fat. The communist rogue agent was played by veteran actor Khigh Dhiegh. In the show's final episode in 1980, titled "Woe to Wo Fat", McGarrett finally sees his foe go to jail.[5]
Unlike the reboot the show's action and straightforward storytelling left little time for personal stories involving wives or girlfriends,[6] though a two-part story in the first season dealt with the loss of McGarrett's sister's baby. Occasionally, a show would flash back to McGarrett's younger years or to a romantic figure.
In the episode "Number One with a Bullet, Part 2", McGarrett tells a criminal, "It was a bastard like you who killed my father." His 42-year-old father had been run down and killed by someone who had just held up a supermarket. Because Steve McGarrett is also a commander in the Naval Reserve, he sometimes uses their resources to help investigate and solve crimes. Hence the closing credits of some episodes mentioned the Naval Reserve.[7] A 1975 episode involving Danno's aunt, played by MacArthur's adoptive mother Helen Hayes, provided a bit of Williams' back story.
Creation of the show[edit]
Sources differ on how the show came to be. Producer Leonard Freeman moved to Hawaii to recuperate after suffering a heart attack. One source states the idea for the show may have come from a conversation Freeman had with Hawaii's then-Governor John A. Burns.[8][9] Another source instead claims that Freeman wanted to set a show in San Pedro, Los Angeles, California until his friend Richard Boone convinced him to shoot it entirely in Hawaii.[10] A third source claims Freeman discussed the show with Governor Burns only after pitching the idea to CBS.[11] Before settling on the name "Hawaii Five-O", Freeman considered titling the show "The Man".[8]
Casting[edit]
Kam Fong Chun played Chin Ho Kelly.
Freeman offered Richard Boone the part of McGarrett, but Boone turned it down;[10] Gregory Peck[11] and Robert Brown[12] were also considered. Ultimately, Jack Lord – then living in Beverly Hills – was asked at the last moment. Lord read for the part on a Wednesday, was cast, and flew to Hawaii two days later. On the following Monday, Lord was in front of the cameras. Freeman and Lord had worked together previously on an unsold TV pilot called Grand Hotel.[11]
Tim O'Kelly originated the role of Danny Williams in the pilot episode, "Cocoon." Test audiences apparently weren't positive on O'Kelly, however, and the producers replaced him with James MacArthur.
Kam Fong Chun, an 18-year veteran of the Honolulu Police Department, auditioned for the part of the lead villain Wo Fat, but Freeman cast him in the part of Chin Ho Kelly instead. Freeman took the name Wo Fat from a restaurant in downtown Honolulu. The name Chin Ho came from Chinn Ho, the owner of the Ilikai Hotel where the penthouse shot of Steve McGarrett in the opening title sequence was taken.[13] Richard Denning, who played the governor, had retired to Hawaii and came out of retirement for the show. Zulu was a Waikiki beach boy and local DJ when he was cast for the part of Kono, which he played for the next four years.
Characters[edit]
Name
Portrayed by
Occupation
Seasons
1
2
3
4
5
6
7
8
9
10
11
12
Steve McGarrett Jack Lord Commander, Five-0 Task Force Main
Danny Williams James MacArthur Detective Sergeant, Five-0 Task Force; Lieutenant Five-0 Task Force Main
Chin Ho Kelly Kam Fong Detective, Five-0 Task Force Main
Kono Kalakaua Zulu Detective, Five-0 Task Force Main
Paul Jemeson Richard Denning Governor Main
May Maggi Parker Secretary Main
Jenny Sherman Peggy Ryan Secretary Main
John Manicote Glenn Cannon Attorney General Main
Duke Lukela Herman Wedemeyer Sergeant, HPD; Detective, Five-0 Task Force Main
Nick Kellog Danny Kamekona Sergeant, HPD; Sergeant, Five-0 Task Force Main Main
Ben Kokua Al Harrington Detective Main
Frank Kamana Douglas Mossman Detective Main
Sandi Wells Amanda McBroom Officer Main
James Carew William Smith Detective Main
Lori Wilson Sharon Farrell Detective Main
Truck Kealoha Moe Keale Detective Main
Recurring[edit]
Wo Fat (Khigh Dhiegh in the pilot, and occasionally throughout the series, including the final episode), Chinese intelligence agent and criminal mastermind
Che Fong (Harry Endo), the forensic specialist
Joey Lee (Brian Tochi), former gang leader turned undercover informant for McGarrett
Doc Bergman (Al Eben), the medical examiner
Lieutenant Kealoha & Lealoha (Douglas Mossman; season 1)
Jonathan Kaye (from the State Dept.) (James Gregory (pilot), Joseph Sirola; season 2–5), Robert Dixon ("To Kill or Be Killed," season 3), Tim O'Connor ("The Ninety-Second War," season 4), Bill Edwards; seasons 6–9), and Lyle Bettger; season 10)
"Doc" (full name never used) (Newell Tarrant; season 1, Robert Brilliande and Ted Thorpe; season 2), Robert Costa; season 3)
Che Fong (Danny Kamekona; seasons 1 & 2)
Luana (Laura Sode; seasons 10–12)
Attorney General Walter Stewart (Morgan White; season 1)
Mildred (Peggy Ryan; season 1)
Dr. Grant Ormsbee (Pat Hingle; seasons 8 & 9)
Dr. Bishop (Jean Tarrant (1920 -2010), criminal psychologist; season 6). She also guest starred in two non-recurring character rolls, one in season 8 and one in season 9.
Pilot cast[edit]
Daniel "Danno" Williams, Detective Sgt. - Tim O'Kelly
Paul Jameson, Governor - Lew Ayres
May, secretary - Mitzi Hoag
Production[edit]
The first season was shot in a rusty military Quonset hut in Pearl City, which the various cast members quickly nicknamed "Mongoose Manor".[14] The roof tended to leak, and rats would often gnaw at the cables. The show then moved to a Fort Ruger location for seasons two to eight. A third studio was built at Diamond Head, and was used during the last four seasons.
A problem from the beginning was the lack of a movie industry in Hawaii. Much of the crew and cast, including many locals who ended up participating in the show, had to learn their respective jobs as they went along. Jack Lord was known as a perfectionist who insisted on the best from everyone.[15] His temper flared when he felt that others did not give their best, but in later reunions they admitted that Lord's hard-driving force had made them better actors and made Hawaii Five-O a better show. Lord's high standards helped the show last another six years after Leonard Freeman's death from heart trouble during the sixth season.[15]
To critics and viewers, there was no question that Jack Lord was the center of the show, and that the other actors frequently served as little more than props, standing and watching while McGarrett emoted and paced around his office, analyzing the crime. But occasionally episodes would focus on the other actors, and let them showcase their own talents, such as Danno defusing bombs in "The Clock Struck Twelve". Since Jack Lord had a financial interest in the show, he referred to other regular cast actors in the program as a "with", as in "With James MacArthur"; they were never called "co-stars".[16]
Very few episodes were shot outside of Hawaii. At least two episodes were shot in Los Angeles, one in Hong Kong, and one in Singapore.
Credits[edit]
The opening title sequence was created by television director Reza S. Badiyi. Early shows began with a cold open suggesting the sinister plot for that episode, then cut to a shot of a big ocean wave and the start of the theme song.[6][17][18] A fast zoom-in to the top balcony of the Ilikai Hotel followed,[13] showing McGarrett turning to face the camera, followed by many quick-cuts and freeze-frames of Hawaiian scenery, and Hawaiian-Chinese-Caucasian model Elizabeth Malamalamaokalani Logue turning to face the camera.[19] A grass-skirted hula dancer from the pilot episode was also included, played by Helen Kuoha-Torco, who later became a professor of business technology at Windward Community College.[20] The opening scene ended with shots of the supporting players, and the flashing blue light of a police motorcycle racing through a Honolulu street.
At the conclusion of each episode, Jack Lord narrated a promo for the next episode, often emphasizing the "guest villain", especially if the villain is a recurring character, such as that played by actor Hume Cronyn. The line he spoke was, "This is Jack Lord inviting you to be with us next week for <name of episode>" and then, "Be here. Aloha." The promos were removed from the syndicated episodes but most have been restored in DVD releases from the second season through the ninth. Most of the promos are slightly edited to remove references to "next week".
This tradition has been continued in the 2010 version of Hawaii Five-0, but is not limited to Alex O'Loughlin. All of the primary cast members take turns with the iconic "Be here. Aloha" line at the end of the preview segment.
There were two versions of the closing credits portion of the show. During the first season, the theme music was played over a short film of a flashing blue light attached to the rear of a police motorcycle in Waikiki heading west (the film is shown at twice the normal speed, as can be seen from people crossing a street behind the police motorcycle).[21] In later seasons, the same music was played over film of outrigger canoeists battling the surf.
In a 2010 issue of TV Guide, the show's opening title sequence ranked No. 4 on a list of TV's top 10 credits sequences, as selected by readers.[22]
Legacy[edit]
The show was the longest-running crime show on American television until Law & Order surpassed it in 2003, and was the first to enjoy an uninterrupted run that exceeded a decade (it has since been joined in that distinction by several other series including Law & Order: Special Victims Unit, CSI: Crime Scene Investigation and NCIS).
When the show premiered in 1968 Hawaii had been a state for only 9 years and was relatively obscure to Americans who had never served in the Pacific Theater, but as a geographic part of Polynesia it had an exotic image.
Known for the location, theme song, and ensemble cast, Hawaii Five-O contains a heavy use of exterior location shooting throughout the entire 12 seasons. A typical episode, on average, would have at least two-thirds of all footage shot on location, as opposed to a "typical" show of the time which would be shot largely on sound stages and backlots. It is also remembered for its unusual setting during an era when most crime dramas of the era were set in or around the Los Angeles or New York City areas.
The Hawaii-based television show Magnum, P.I. was created after Hawaii Five-O ended its run, in order to make further use of the expensive production facilities created there for Five-O. The first few Magnum P.I. episodes made direct references to Five-O, suggesting that it takes place in the same fictional setting. Magnum's producers made a few attempts to coax Jack Lord out of retirement for a cameo appearance, but he refused.[5]
Many local people were cast in the show, which was ethnically diverse by the standards of the late 1960s.[6] The first run and syndication were seen by an estimated 400 million people around the world.
"Bored, She Hung Herself", the 16th episode of the second season, depicted a Five-O investigation into the apparent suicide of a woman by hanging, which she was supposedly practicing as part of a health regimen.[23] A viewer reportedly died trying the same technique, and as a result, the episode was not rebroadcast, was never included in any syndication packages, and has not been included on any DVD release of the show to date.[24][25] The family of the person who died in the real-life hanging sued CBS over the episode.[26]
Remake projects[edit]
A one-hour pilot for a new series was made in 1996 but never aired. Produced and written by Stephen J. Cannell, it starred Gary Busey and Russell Wong as the new Five-O team. James MacArthur returned as Dan Williams, having become governor of Hawaii.[27] Several cameos were made by other Five-O regulars, including Kam Fong as Chin Ho Kelly[28] (even though the character had been killed off at the end of Season 10).[citation needed]
The one-hour pilot for a revived show, called Hawaii Five-0 (the last character is a zero instead of the letter "O", which is the true title of the original series as well), aired September 20, 2010, on CBS, and as of October 2013, the series now airs Friday nights at 9 PM Eastern, 8 PM Central time.[citation needed] The remake version Hawaii Five-0 uses the same principal character names as the original, and the new Steve McGarrett's late father's vintage 1974 Mercury Marquis is the actual specimen driven by Lord in the original series's final seasons. The new series opening credit sequence is an homage to the original; the theme song is cut in half, from 60 to 30 seconds, but is an otherwise identical instrumentation. Most of the iconic shots are replicated, beginning with the helicopter approach and close-up turn of McGarrett at the Ilikai Hotel penthouse, the jet engine nacelle, a hula dancer's hips, the quickly stepped zoom-in to the face of the Lady Columbia statue at Punchbowl, the close-up of the Kamehameha Statue's face, and the ending with a police motorcycle's flashing blue light. Starting with the Season 7 many of the clips that were part of the original opening were removed and more action shots of the cast were included. On the March 19, 2012 episode, Ed Asner reprised his role as "August March", a character he first played in a 1975 episode. Clips from the 1975 episode were included in the new one, even though the 2010 series is intended to be in a different narrative universe than the Jack Lord series.
Theme music[edit]
Another legacy of the show is the popularity of the Hawaii Five-O theme music. The tune was composed by Morton Stevens, who also composed numerous episode scores performed by the CBS Orchestra. The theme was later recorded by the Ventures, whose version reached No. 4 on the Billboard Hot 100 pop chart,[6] and is particularly popular with college and high school marching bands, especially at the University of Hawaii where it has become the unofficial fight song. The tune has also been heard at Robertson Stadium after Houston Dynamo goals scored by Brian Ching, a native of Hawaii. Because of the tempo of the music, the theme gained popularity in the UK with followers of Northern soul and was popular on dance floors in the 1970s.[29]
Although the theme is most widely known as an instrumental, it has been released with at least two similar but different sets of lyrics. The first, "You Can Come with Me" by Don Ho, opens with an instrumental in the familiar tempo, then settles into a ballad style for the sung portion.[30] The second, by Sammy Davis, Jr., titled "You Can Count on Me (Theme from Hawaii Five-O)", maintains the driving style of the original instrumental throughout.[31]
Australian proto-punk band Radio Birdman borrowed heavily from the program and its theme for their 1977 single "Aloha, Steve & Danno", later included on selected versions of the album Radios Appear. Band leader Deniz Tek, who grew up in Ann Arbor, Michigan during the heyday of MC5 and The Stooges, commented that he found Sydney of the early 1970s to be a rather quiet and staid place in comparison, and that airings of the program were a weekly highlight. The song was written after the band members realized they were spending a lot of evenings watching the program. The lyrics of the song's verses consist entirely of references to story lines of the early episodes. The chorus alludes to the boredom which band members experienced when the program wasn't on. The song's guitar solos and other elements of the music were directly derivative of the program's theme; Stevens received a writing credit on the song as a result.
In the Australian movie The Dish, the theme was mistaken for the national anthem of the US by a local band upon the visit of the US Ambassador to Parkes, NSW, to commemorate the 1969 Moon landing.
Bill Murray sang his own made-up lyrics to the song on one of his "Nick the Lounge Singer" skits on Saturday Night Live.
On the 1997 Bill Nye the Science Guy episode "Volcanoes", the MIDI version of "Hawaii Five-O" was used during the "Pahoehoe Five-O" segments.
The song was also featured in the film 50 First Dates (2004), and the Sammy Davis Jr. version of the theme song was re-recorded by Los Straitjackets with Deke Dickerson and released in 2014.
Darts player Wayne Mardle used the song as his walk-on song in 2013.[32]
Slang term for police[edit]
The phrase "Five-O" (or any variation, such as "5–0", "5-o", and "five O", all usually pronounced "five oh") has come to refer to the police in the United States.[33]
Episodes[edit]
Main article: List of Hawaii Five-O (1968 TV series) episodes
Season
Episodes
Originally aired
Nielsen ratings[34]
First aired
Last aired
Rank
Rating
1 24 September 26, 1968 (1968-09-26) March 19, 1969 (1969-03-19) N/A N/A
2 25 September 24, 1969 (1969-09-24) March 11, 1970 (1970-03-11) 19 21.1
3 24 September 16, 1970 (1970-09-16) March 10, 1971 (1971-03-10) 7 25.0
4 24 September 14, 1971 (1971-09-14) March 7, 1972 (1972-03-07) 12 23.6
5 24 September 12, 1972 (1972-09-12) March 13, 1973 (1973-03-13) 3 25.2
6 24 September 11, 1973 (1973-09-11) February 26, 1974 (1974-02-26) 5 24.0
7 24 September 10, 1974 (1974-09-10) March 25, 1975 (1975-03-25) 10 24.8
8 23 September 12, 1975 (1975-09-12) March 4, 1976 (1976-03-04) N/A N/A
9 23 September 30, 1976 (1976-09-30) May 5, 1977 (1977-05-05) 18 21.9[a]
10 24 September 15, 1977 (1977-09-15) May 4, 1978 (1978-05-04) 23 20.4
11 21 September 28, 1978 (1978-09-28) April 5, 1979 (1979-04-05) N/A N/A
12 19 October 4, 1979 (1979-10-04) April 5, 1980 (1980-04-05) N/A N/A
Jump up ^ Tied with 60 Minutes
Broadcast history[edit]
September 1968 – December 1968: Thursdays at 8:00 p.m.
December 1968 – March 1971: Wednesdays at 10:00 p.m.
September 1971 – February 1974: Tuesdays at 8:30 p.m.
September 1974 – March 1975: Tuesdays at 9:00 p.m.
September 1975 – November 1975: Fridays at 9:00 p.m.
December 1975 – November 1979: Thursdays at 9:00 p.m.
December 1979 – January 1980: Tuesdays at 9:00 p.m.
March 1980 – April 1980: Saturdays at 9:00 p.m.
Syndication[edit]
Hawaii Five-O survived long enough to overlap with reruns of early episodes, which were broadcast by CBS in their late night schedule while new episodes were still being produced. Once the program entered syndication after the original run of the series, CBS broadcast reruns of season 12 in late night under the title McGarrett to avoid confusion with the episodes in syndication broadcast under the title Hawaii Five-O. MeTV began airing this series with episode 1, on August 21, 2017, in a 6 PM EDT time slot daily.
In the United Kingdom, the series first aired on ITV on July 19, 1970 in a Saturday evening timeslot.
Awards and nominations[edit]
Emmys[edit]
Wins
1970: Outstanding Musical Composition: Morton Stevens, "A Thousand Pardons, You're Dead!"
1974: Best Music Composition – Series: Morton Stevens, "Hookman"
Nominations
1969: Outstanding Cinematography: Frank Phillips, "Up-Tight"
1969: Outstanding Musical Composition: Morton Stevens, the pilot
1971: Outstanding Film Editing: Arthur David Hilton, "Over Fifty? Steal"
1971: Outstanding Directing: Bob Sweeney, "Over Fifty? Steal"
1972: Outstanding Cinematography: Robert L. Morrison
1973: Outstanding Drama Series: Leonard Freeman, executive producer; Bob Sweeney, supervising producer; William Finnegan, producer
1974: Best Cinematography: Robert Morrison, Jack Whitman and Bill Huffman
1974: Best Music Composition – Series: Don B. Ray, "Nightmare in Blue"
1974: Best Music Composition – Series: Bruce Broughton, "The $100,000 Nickel"
1976: Outstanding Actress, Single Performance Drama or Comedy Series: Helen Hayes, "Retire in Sunny Hawaii ... Forever"
Streaming media[edit]
CBS Interactive had presented the entire first season of the show online via Adobe Flash streaming media.[35] As of July 2017, almost every episode is available at CBS.com.[36] The first 10 episodes of season 1 are available free of charge. All other episodes require a CBS All Access subscription to view.
Home releases[edit]
CBS DVD (distributed by Paramount) has released all twelve seasons on DVD in Region 1. The first eight seasons have been released in region 2 and region 4.
The episode "Bored, She Hung Herself" is not included in The Second Season set. The omission is mentioned on the back of the box. Only some Australian bootlegs have had the episode. Seasons 2–8 contain episode promos by Jack Lord.
On December 3, 2013, Paramount released Hawaii Five-O – The Complete Series on DVD in Region 1.[37]
On April 18, 2017, the complete series set was reissued.
DVD name
Ep. No.
Release dates
Region 1
Region 2
Region 4
The First Season 24 March 6, 2007 April 16, 2007 April 12, 2007
The Second Season 24 July 31, 2007 October 29, 2007 November 8, 2007
The Third Season 24 January 22, 2008 May 5, 2008 May 15, 2008
The Fourth Season 24 June 10, 2008 September 1, 2008 November 6, 2008
The Fifth Season 24 November 18, 2008 February 9, 2009 March 5, 2009
The Sixth Season 24 April 21, 2009 September 14, 2009 December 24, 2009
The Seventh Season 24 October 20, 2009 March 22, 2010 December 24, 2009
The Eighth Season 23 March 16, 2010 TBA TBA
The Ninth Season 23 August 3, 2010 TBA TBA
The Tenth Season 24 December 14, 2010 TBA TBA
The Eleventh Season 21 September 20, 2011 TBA TBA
The Twelfth and Final Season 19 January 10, 2012 TBA TBA
The Complete Series 278 December 3, 2013 TBA TBA
The Complete Series 278 April 18, 2017 TBA TBA
Other media[edit]
A soundtrack album featuring Morton Stevens' theme and incidental music from the pilot and the first two seasons was issued by Capitol Records in 1970. Unlike many albums of television music of the time, the music was taken directly from the scoring sessions rather than being specially re-recorded for album release. One of the instrumental pieces on the album, "Call to Danger", was originally recorded for the unsold 1967 pilot of the same name and also excerpted as background music accompanying a "Special Presentation" logo that CBS used to introduce its prime time television specials throughout the 1970s and 1980s. The album was re-issued on compact disc by Film Score Monthly in 2010.
Hawaii Five-0 (1:32)
Call to Danger (1:48)
McGarrett's Theme (2:25)
Front Street (2:42)
The Long Wait (2:18)
Blues Trip (3:14)
The Floater (2:23)
Interlude (1:53)
Operation Smash (2:05)
Beach Trip (2:30)
Up Tight (2:05)
The Chase/Hawaii Five-0 (4:36)
Hawaii Five-O was the subject of six novelizations. Each one had a plot line written for the book and was not based on a television episode. The first two books were published by Signet Paperbacks in 1968 and 1969. After that were two juvenile hard covers published by Whitman publishing in 1969 and 1971 and finally two more books were published in England.[38]
1960s portal
1970s portal
1980s portal
References[edit]
Jump up ^ Times Staff Writer (2008-12-02). "TV and film producer William Finnegan dies at 80". Los Angeles Times. Retrieved 2014-03-14.
Jump up ^ "Hawaii Five-O Classic (1968)". CBS.com. http://www.cbs.com/shows/hawaii-five-O-classic/
Jump up ^ Tomimbang, Emme. "Island Moments". KGMB-TV. Retrieved 8 September 2012.
^ Jump up to: a b Terrace, Vincent (1986), Encyclopedia of Television Series, Pilots and Specials (Google books), Verlag für die Deutsche Wirtschaft, p. 187
^ Jump up to: a b c Snauffer, Douglas (2006), Crime Television (Google books), Greenwood, p. 59
^ Jump up to: a b c d e Newcomb, Horace (2004), Encyclopedia of Television (Google books), CRC Press, p. 1068
Jump up ^ Nurse Corps Miscellany, 1910–2008 (PDF), US: Navy, p. 20, archived from the original (PDF) on 2009-02-27
^ Jump up to: a b Quigley, Mike; Rhodes, Karen, "FAQ", The Hawaii Five-O Home Page
Jump up ^ Harada, Wayne. "The Continuing Legacy of 'Hawaii Five-O'", Honolulu Advertiser (1998-01-26).
^ Jump up to: a b "Richard Boone: U.S. Actor", The Museum of Broadcast Communications.
^ Jump up to: a b c Raddatz, Leslie. "How An Ex-Rodeo Rider Went West To Enjoy The Good Life As A Hawaiian Cop", TV Guide (1969-01-04).
Jump up ^ Quigley, Mike. "My Report on the 1996 Five-O Conventions", The Hawaii Five-O Home Page.
^ Jump up to: a b Gomes, Andrew. "Now that Ilikai deal is done, is Hard Rock in its future?", Honolulu Advertiser (2006-07-13). Retrieved 2009-03-03.
Jump up ^ Davidson, Bill. "Hawaii's Happy Almond: Giving up the spotlight to a glowering coconut doesn't faze James MacArthur", TV Guide (1973-09-22).
^ Jump up to: a b Mifflin, Lawrie. "Jack Lord, 77, Helped Direct And Starred In 'Hawaii Five-O'", The New York Times (1998-01-23).
Jump up ^ Anthony Hayward. "James MacArthur: Actor best known as Danno in 'Hawaii Five-0' | Obituaries | News". The Independent. Retrieved 2015-12-24.
Jump up ^ Original Hawaii Five-O opening credits on YouTube
Jump up ^ Hawaii Five-O Theme Song and Opening Sequence on YouTube
Jump up ^ Burlingame, Burl. "The title sequence of Hawaii 'Five-0' Flash back to the past", Star-Bulletin (1996-10-21).
Jump up ^ "'Five-O' dancer steps forward", Honolulu Star-Bulletin (1996-11-05).
Jump up ^ Hawaii Five-O Theme Song and Closing Sequence on YouTube
Jump up ^ Tomashoff, Craig. "Credits Check" TV Guide, October 18, 2010, Pages 16–17
Jump up ^ Booking Hawaii Five-O: An Episode Guide and Critical History of the 1968–1980 Television Detective Series (Google eBook). Retrieved 2013-09-13.
Jump up ^ "Episode cut from 'Five-0' second-season set", Honolulu Star-Bulletin (2007-08-03).
Jump up ^ "Hawaii Five O Season 2 REGION 4 DVD FREE AUST POSTAGE". eBay. Retrieved 2015-12-24.
Jump up ^ https://www.metv.com/stories/have-you-ever-seen-the-lost-episode-of-hawaii-five-o
Jump up ^ "Cop Shows: A Critical History of Police Dramas on Television - Roger Sabin, Linda Speidel, Ronald Wilson, Ben Bethell, Brian Faucette - Google Books". Books.google.com. Retrieved 2015-12-24.
Jump up ^ "Encyclopedia of Television Pilots, 1937-2012 - Vincent Terrace - Google Books". Books.google.com. 2013-02-26. Retrieved 2015-12-24.
Jump up ^ "Northern Soul Is Dead!". Soulful kinda music. Retrieved June 15, 2011.
Jump up ^ Don Ho version of theme song (lyrics only)
Jump up ^ Sammy Davis Jr. version of theme song (audio).
Jump up ^ "BDO world title hopeful on way". Express & Star. 4 January 2013. Retrieved 20 December 2013.
Jump up ^ Karen Rhodes (1 February 1997). Booking Hawaii Five-O: An Episode Guide and Critical History of the 1968–1980 Television Detective Series. McFarland. p. 265. ISBN 978-0-7864-8666-3.
Jump up ^ Brooks, Tim; Marsh, Earle (2007). The Complete Directory to Prime Time Network and Cable TV Shows 1946-Present (Ninth Edition). Ballantine Books. p. 1685-1688. ISBN 978-0-345-49773-4.
Jump up ^ Waldman, Allison (2008-02-21). "CBS adds TV classics to web line up". TV Squad. Retrieved 2008-03-30.
Jump up ^ CBS.com (2017-07-30). "Hawaii Five-O: Watch Full Episodes". CBS. Retrieved 2017-07-30.
Jump up ^ "Hawaii Five-O – A Delay and Good News for 'The Complete Series'". Archived from the original on 2013-09-16. Retrieved 2013-09-13.
Jump up ^ Rhodes, Karen. "An Analysis of the Hawaii Five-O Paperback Novels, American and British, and the American Whitman Five-O Stories for Youngsters", Karen Rhodes Home Page.
External links[edit]
Official website
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Hawaii Five-O theme song and opening sequence on YouTube
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Hawaii Five-O at TV.com
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Hawaii Five-O Episode Guide at TV Favourites
Jack Lord and Hawaii Five-0 Website
Hawaii Five-O FAQ's
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Lamb of God
From Wikipedia, the free encyclopedia
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This article is about the religious term. For other uses, see Lamb of God (disambiguation).
"Agnus Dei" redirects here. For other uses, see Agnus Dei (disambiguation).
Zurbarán Agnus Dei, Prado Museum, c. 1635-1640
Adoration of the Mystic Lamb, with gushing blood, detail of the Ghent Altarpiece, Jan van Eyck, c. 1432
Lamb of God (Greek: Ἀμνὸς τοῦ Θεοῦ, Amnos tou Theou; Latin: Agnus Deī [ˈaŋ.nʊs ˈde.iː]) is a title for Jesus that appears in the Gospel of John. It appears at John 1:29, where John the Baptist sees Jesus and exclaims, "Behold the Lamb of God who takes away the sin of the world."[1]
Christian doctrine holds that divine Jesus chose to suffer crucifixion at Calvary as a sign of his full obedience to the will of his divine Father, as an "agent and servant of God".[2][3] In Christian theology the Lamb of God is viewed as foundational and integral to the message of Christianity.[4][5]
A lion-like lamb that rises to deliver victory after being slain appears several times in the Book of Revelation.[6] It is also referred to in Pauline writings, 1 Corinthians 5:7 suggests that Saint Paul intends to refer to the death of Jesus, who is the Paschal Lamb, using the theme found in Johannine writings.[7] The lamb metaphor is also in line with Psalm 23, which depicts God as a shepherd leading his flock (mankind).
The Lamb of God title is widely used in Christian prayers, and the Agnus Dei is used as a standard part of the Catholic Mass, as well as the classical Western Liturgies of the Anglican and Lutheran Churches. It also is used in liturgy and as a form of contemplative prayer.[8][9] The Agnus Dei also forms a part of the musical setting for the Mass.
As a visual motif the lamb has been most often represented since the Middle Ages as a standing haloed lamb with a foreleg cocked "holding" a pennant with a red cross on a white ground, though many other ways of representing it have been used.
Contents
1 Gospel of John
2 Book of Revelation
3 Christology
4 Liturgy and music
5 Art
6 Heraldry
7 Catholic sacramental
8 Gallery
9 See also
10 References
11 External links
Gospel of John[edit]
The title Lamb of God for Jesus appears in the Gospel of John, with the initial proclamation: "Behold the Lamb of God who takes away the sin of the world" in John 1:29, the title reaffirmed the next day in John 1:36.[1] The second use of the title Lamb of God takes place in the presence of the first two apostles of Jesus, who immediately follow him, address him as Rabbi with respect and later in the narrative bring others to meet him.[10]
These two proclamations of Jesus as the Lamb of God closely bracket the Baptist's other proclamation in John 1:34: "I have borne witness that this is the Son of God". From a Christological perspective, these proclamations and the descent of the Holy Spirit as a dove in John 1:32 reinforce each other to establish the divine element of the Person of Christ.[1] In Johannine Christology the proclamation "who takes away the sin of the world" begins the unfolding of the salvific theme of the redemptive and sacrificial death of Jesus followed by his resurrection which is built upon in other proclamations such as "this is indeed the Saviour of the world" uttered by the Samaritans in John 4:42.[11][12]
Book of Revelation[edit]
Lamb bleeding into the Holy Chalice, carrying the vexillum
The Book of Revelation includes over twenty-nine references to a lion-like lamb ("slain but standing") which delivers victory in a manner reminiscent of the resurrected Christ.[6] In the first appearance of the lamb in Revelation (5:1-7) only the lamb (which is of the tribe of Judah, and the root of David) is found worthy to take the judgment scroll from God and break the seals.[6] The reference to the lamb in Revelation 5:6 relates it to the Seven Spirits of God which first appear in Revelation 1:4 and are associated with Jesus who holds them along with seven stars.[13]
In Revelation 21:14 the lamb is said to have twelve apostles.[6] The handing of the scroll (i.e. the book containing the names of those who will be saved) to the risen lamb signifies the change in the role of the lamb. In Calvary, the lamb submitted to the will of the Father to be slain, but now is trusted with the judgment of mankind.[14]
From the outset, the book of Revelation is presented as a "revelation of Jesus Christ" and hence the focus on the lamb as both redeemer and judge presents the dual role of Jesus: he redeems man through self-sacrifice, yet calls man to account on the day of judgment.[15]
Christology[edit]
The concept of the Lamb of God fits well within John's "agent Christology", in which sacrifice is made as an agent of God or servant of God for the sake of eventual victory.[3][16]
The theme of a sacrificial lamb which rises in victory as the Resurrected Christ was employed in early Christology, e.g. in 375 Saint Augustine wrote: "Why a lamb in his passion? Because he underwent death without being guilty of any iniquity. Why a lion in his passion? Because in being slain, he slew death. Why a lamb in his resurrection? Because his innocence is everlasting. Why a lion in his resurrection? Because everlasting also is his might."[17]
Medieval Agnus Dei with halo and cross; Euphrasian Basilica, Poreč, Croatia
The 11th century Christology of Saint Anselm of Canterbury specifically disassociates the Lamb of God from the Old Testament concept of a scapegoat which is subjected to punishment for the sins of others, without knowing it or willing it.[2] Anselm emphasized that as Lamb of God, Jesus chose to suffer in Calvary as a sign of his full obedience to the will of the Father.[2]
John Calvin presented the same Christological view of "The Lamb as the agent of God" by arguing that in his trial before Pilate and while at Herod's Court Jesus could have argued for his innocence, but instead remained mostly quiet and submitted to crucifixion in obedience to the Father, for he knew his role as the Lamb of God.[18][19]
In modern Eastern Orthodox Christology, Sergei Bulgakov argued that the role of Jesus as the Lamb of God was "pre-eternally" determined by the Father before the creation of the world, as a sign of love by considering the scenario that it would be necessary to send The Son as an agent to redeem humanity disgraced by the fall of Adam.[20]
San Damiano Cross depicts the sacrificial Christ as Agnus Dei
Multiple hypotheses about the suitable symbolism for the Lamb of God have been offered, within various Christological frameworks, ranging from the interpretation of Old Testament references to those of the Book of Revelation.[21] One view suggests the symbolism of Leviticus 16 as scapegoat, coupled with Romans 3:21-25 for atonement, while another view draws parallels with the Paschal Lamb in Exodus 12:1-4, coupled with John 1:29-36, and yet another symbolism relies on Revelation 5:5-14 in which the lamb is viewed as a lion who destroys evil.[21][22] However, as above Saint Anselm and John Calvin's view reject the scapegoat symbolism for they view Jesus as making a knowing sacrifice as an agent of God, unlike an unwitting scapegoat.[2][18][19]
In modern Roman Catholic Christology, Karl Rahner has continued to elaborate on the analogy that the blood of the Lamb of God, and the water flowing from the side of Christ on Calvary had a cleansing nature, similar to baptismal water. In this analogy, the blood of the Lamb washed away the sins of humanity in a new baptism, redeeming it from the fall of Adam.[23]
Liturgy and music[edit]
Main articles: Agnus Dei (liturgy) and Agnus Dei (music)
Agnus Dei from Mass in G by Schubert.
In the Mass of the Roman Rite and also in the Eucharist of the Anglican Communion, the Lutheran Church, and the Western Rite of the Orthodox Church the Agnus Dei is the invocation to the Lamb of God sung or recited during the fraction of the Host.[24] It is said to have been introduced into the Mass by Pope Sergius I (687–701).[25]
Agnus Dei has been set to music by many composers, usually as part of a Mass setting.[26][27]
Art[edit]
Lamb of God mosaic in presbytery of Basilica of San Vitale (built A.D. 547) Ravenna, Italy.
Lamb of God with vexillum, Sacred Heart Church (Berlin), 1898
In Christian iconography, an Agnus Dei is a visual representation of Jesus as a lamb, since the Middle Ages, usually holding a standard or banner with a cross. This normally rests on the lamb's shoulder and is held in its right foreleg. Often the cross will have a white banner suspended from it charged with a red cross (similar to St George's Cross), though the cross may also be rendered in different colors. Sometimes the lamb is shown lying atop a book with seven seals hanging from it. This is a reference to the imagery in the Book of Revelation 5:1-13, ff. Occasionally, the lamb may be depicted bleeding from the area of the heart (Cf. Revelation 5:6), symbolizing Jesus' shedding of his blood to take away the sins of the world (Cf. John 1:29, 1:36).
In Early Christian art the symbol appears very early on. Several mosaics in churches include it, some showing a row of twelve sheep representing the apostles flanking the central Agnus Dei, as in Santi Cosma e Damiano, Rome (526-30).
The Moravian Church uses an Agnus Dei as their seal with the surrounding inscription Vicit agnus noster, eum sequamur ("Our Lamb has conquered, let us follow him").
Although the depiction of Jesus as the Lamb of God is of ancient origin, it is not used in the liturgical iconography of the Eastern Orthodox Church. The reason for this is that the depictions of Jesus in the Orthodox Church are anthropomorphic rather than symbolic, as a confession of the Orthodox belief in the Incarnation of the Logos. However, there is no objection to the application of the term "Lamb of God" to Jesus. In fact, the Host used in the Orthodox Divine Liturgy is referred to as the Lamb (Greek: άμνος, translit. amnos; Church Slavonic: Агнецъ, translit. agnets).
Heraldry[edit]
An heraldic escutcheon blazoned as A paschal lamb, as drawn by Arthur Charles Fox-Davies (1871-1928)
A Paschal Lamb is a charge used in heraldry, for example as the crest of the Davie Baronets, and is blazoned: A paschal lamb[28] This charge is depicted as a lamb standing with body facing towards the dexter (viewer's left), with nimbus, and with head facing forwards (or turned looking backwards to sinister, termed reguardant) holding under its right foreleg a flagpole, tipped with a small cross, resting at a diagonal angle over its shoulder, flying a banner of the Cross of St. George (except in Perth's coat of arms, where it flies a banner of the Cross of St Andrew).
Catholic sacramental[edit]
In the Roman Catholic Church, an Agnus Dei is a disc of wax, stamped with an image of Jesus as a lamb bearing a cross, that is blessed by the Pope as a sacramental.[29] These were often set in jewelry, and might be worn round the neck on a chain, or as a brooch.
Gallery[edit]
The Coat of arms of Puerto Rico features the Lamb of God and other symbols including the Kingdom of Jerusalem Cross and the Catholic Monarchs initials.
The seal of the Moravian Church, the Agnus Dei window with the Lamb of God carrying the vexillum
Brass Agnus Dei from altar-front in the Cathedral of the Assumption in Louisville, Kentucky.
Agnus Dei on the 1311 coin of King Philip IV of France.
Eucharistic Pall, embroidered with the Agnus Dei reposing on the book of the Seven Seals.
William Blake's The Lamb from his collection Songs of Innocence and of Experience
Stained glass Lamb of God carrying the vexillum, Royal Military College of Canada
Modern copy of a Romanesque Agnus Dei, Santiago de Compostela, Galicia
The Agnus Dei on Perth, Scotland's coat of arms holds the Scottish flag.
See also[edit]
Wikimedia Commons has media related to Paschal lamb in heraldry.
Christianity portal
Jesus in Christianity
References[edit]
^ Jump up to: a b c The Lamb of God by Sergei Bulgakov 2008 ISBN 0-8028-2779-9 page 263
^ Jump up to: a b c d The Christology of Anselm of Canterbury by Dániel Deme 2004 ISBN 0-7546-3779-4 pages 199-200
^ Jump up to: a b The Christology of the New Testament by Oscar Cullmann 1959 ISBN 0-664-24351-7 page 79
Jump up ^ Karl Gerlach (1998). The Antenicene Pascha: A Rhetorical History. Peeters Publishers. p. 21. Long before this controversy, Ex 12 as a story of origins and its ritual expression had been firmly fixed in the Christian imagination. Though before the final decades of the second century only accessible as an exegetical tradition, already in the Paulin letters the Exodus saga is deeply involved with the celebration of bath and meal. Even here, this relationship does not suddenly appear, but represents developments in ritual narrative that mus have begun at the very inception of the Christian message. Jesus of Nazareth was crucifed during Pesach-Mazzot, an event that a new covenant people of Jews and Gentiles both saw as definitive and defining. Ex 12 is thus one of the few reliable guides for tracing the synergism among ritual, text, and kerygma before the Council of Nicaea.
Jump up ^ Matthias Reinhard Hoffmann (2005). The Destroyer and the Lamb: The Relationship Between Angelomorphic and Lamb Christology in the Book of Revelation. Mohr Siebeck. p. 117. ISBN 3-16-148778-8. 1.2.2. Christ as the Passover Lamb from Exodus A number of features throughout Revelation seem to correspond to Exodus 12: The connection of Lamb and Passover, a salvific effect of the Lamb's blood and the punishment of God's (and His people's) opponents from Exodus 12 may possibly be reflected within the settings of the Apocalypse. The concept of Christ as a Passover lamb is generally not unknown in NT or early Christian literature, as can for instance be seen in 1 Corinthians 5:7, 1 Peter 1:19 or Justin Martyr's writing (Dial. 111:3). In the Gospel of John, especially, this connection between Christ and Passover is made very explicit.
^ Jump up to: a b c d Reclaiming the book of Revelation: by Wilfried E. Glabach 2007 ISBN 1-4331-0054-1 pages
Jump up ^ http://www.newadvent.org/fathers/220115.htm
Jump up ^ Holy Conversation: Spirituality for Worship by Jonathan Linman 2010 ISBN 0-8006-2130-1 page 148
Jump up ^ Prayer Book Parallels: The Public Services of the Church by Paul Victor Marshall 1990 ISBN 0-89869-181-8 page 369
Jump up ^ The Life and Ministry of Jesus by Douglas Redford 2007 ISBN 0-7847-1900-4 pages 100-101
Jump up ^ Johannine Christology and the Early Church by T. E. Pollard 2005 ISBN 0-521-01868-4 page 21
Jump up ^ Studies in Early Christology by Martin Hengel 2004 ISBN 0-567-04280-4 page 371
Jump up ^ New Testament Theology by Thomas R. Schreiner 2008 Baker Academic ISBN 0-8010-2680-6 page 502
Jump up ^ Studies in Revelation by M. R. De Haan, Martin Ralph DeHaan 1998 ISBN 0-8254-2485-2 page 103
Jump up ^ Revelation by Ben Witherington ISBN 978-0-521-00068-0 page 27
Jump up ^ The Johannine exegesis of God by Daniel Rathnakara Sadananda 2005 ISBN 3-11-018248-3 page 281
Jump up ^ Revelation by William C. Weinrich 2005 ISBN 0-8308-1497-3 page 73
^ Jump up to: a b The Reading and Preaching of the Scriptures by Hughes Oliphant Old 2002 ISBN 0-8028-4775-7 page 125
^ Jump up to: a b Calvin's Christology by Stephen Edmondson 2004 ISBN 0-521-54154-9 page 91
Jump up ^ The Lamb of God by Sergei Bulgakov 2008 ISBN 0-8028-2779-9 page 129
^ Jump up to: a b Symbols of Jesus: A Christology of Symbolic Engagement by Robert C. Neville (Feb 4, 2002) Cambridge Univ Pres ISBN 0521003539 page 13
Jump up ^ The Lion and the Lamb by Andreas J. Kostenberger, L. Scott Kellum and Charles L Quarles (Jul 15, 2012) ISBN 1433677083 page 114
Jump up ^ Encyclopedia of theology: a concise Sacramentum mundi by Karl Rahner 2004 ISBN 0-86012-006-6 page 74
Jump up ^ See "Agnus Dei (in Liturgy)" article from The Catholic Encyclopedia
Jump up ^ Lives of Orthodox Western Saints by Reader Daniel Lieuwen (St Nicholas Orthodox Church, McKinney TX)
Jump up ^ The Harvard dictionary of music by Don Michael Randel 2003 ISBN 0-674-01163-5 page 28
Jump up ^ The earliest settings of the Agnus Dei and its tropes by Charles Mercer Atkinson, University of North Carolina at Chapel Hill 1975 page 14
Jump up ^ Montague-Smith, P.W. (ed.), Debrett's Peerage, Baronetage, Knightage and Companionage, Kelly's Directories Ltd, Kingston-upon-Thames, 1968, p.232
Jump up ^ "Agnus Dei" article from The Catholic Encyclopedia
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Exterior insulation finishing system
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A historic brick building in Germany covered with EIFS on the right side.
Exterior insulation and finish system (EIFS) is a general class of non-load bearing building cladding systems that provides exterior walls with an insulated, water-resistant, finished surface in an integrated composite material system. In Europe, systems similar to EIFS are known as External Wall Insulation System (EWIS) and External Thermal Insulation Cladding System (ETICS).
EIFS has been in use since the 1960s in North America, first on masonry buildings, but since the 1990s the majority on wood framed buildings. There is a history of water infiltration problems causing damage to buildings resulting in costly legal cases, so the recommended systems include a drainage plane to let water drain down and out from behind the cladding.
Contents
[hide]
1 History of EIFS
2 Terminology
3 EIFS installation
4 EIFS since year 2000
5 Composition and types of EIFS
6 Legal issues
7 Marketing of EIFS and the EIFS industry
8 EIFS architectural details
9 References
10 External links
History of EIFS[edit]
EIFS was developed in Europe after World War II and was initially used to retrofit masonry walls.[1] EIFS started to be used in North America in the 1960s, and became very popular in the mid- 1970s due to the oil embargo and the resultant surge in interest in high energy efficiency wall systems such as EIFS provides. The use of EIFS over stud-and-sheathing framing instead of over solid walls is a technique used primarily in North America.[1] EIFS is now used all over North America, and also in many other areas around the world, especially in Europe and the Pacific Rim.[2]
In North America, EIFS was initially used almost exclusively on commercial, masonry buildings. As of 1997 EIFS accounted for about 4% of the residential siding market and 12% of the commercial siding market.[1]
In the late 1980s problems started developing due to water leakage in EIFS-clad buildings. This created an international controversy and numerous lawsuits. Critics argue that, while not inherently more prone to water penetration than other exterior finishes, barrier-type EIFS systems (non-water-managed systems) do not allow water that penetrates the building envelope to escape.[3]
The EIFS industry has consistently maintained that the EIFS itself was not leaking, but rather poor craftsmanship and bad architectural detailing at the perimeter of the EIFS was causing the problems. As a result, building codes began mandating a drainage system for EIFS systems on wood frame buildings and additional on-site inspection.
Most homeowner insurance policies cover EIFS and EIFS-like systems.[citation needed] Though there are some cases where insurance companies may not offer coverage for EIFS several companies do.[4] Also, some facility owners have found that EIFS systems that are installed at lower building levels are subject to vandalism, as the material is soft and can be chipped or carved resulting in significant damage. If these concerns exist, specifying heavier ounce reinforcing mesh can be the answer. Building to these specifications can drastically increase the durability of the EIFS system.[5]
EIFS installation was found to be a contributing factor in the multibillion-dollar problem known as the "Leaky condo crisis" in southwestern British Columbia and the "Leaky homes" issue in New Zealand that emerged separately in the 1980s and 1990s.[6][7][8]
Terminology[edit]
In the United States the International Building Code and ASTM International define Exterior Insulation and Finish System (EIFS) as a nonload bearing, exterior wall cladding system that consists of an insulation board attached either adhesively or mechanically, or both, to the substrate; an integrally reinforced base coat; and a textured protective finish coat.[9]
EIFS with Drainage, another EIFS system, is the predominant method of EIFS applied today. As the name implies, EIFS with Drainage provides a way for moisture that may accumulate in the wall cavity to evacuate.[9]
Although often called "synthetic stucco", EIFS is not stucco. Traditional stucco is a centuries-old material which consists of aggregate, a binder, and water, and is a hard, dense, thick, non-insulating material. EIFS is a lightweight synthetic wall cladding that includes foam plastic insulation and thin synthetic coatings. There are also specialty stuccos that use synthetic materials but no insulation, and these are also not EIFS. A common example is what is called one-coat stucco, which is a thick, synthetic stucco applied in a single layer (traditional stucco is applied in 3 layers).
EIFS are proprietary systems of a particular EIFS manufacturer and consist of specific components. EIFS are not generic products made from common separate materials. To function properly, EIFS needs to be architecturally designed and installed as a system. The materials and installation methods specified by different EIFS manufacturers are not all compatible and should not be used interchangeably in new construction or repair work.
The technical definition of an EIFS does not include wall framing, sheathing, flashings, caulking, water barriers, windows, doors, and other wall components. However, some architects have begun specifying flashings, sealants, and wiring fasteners as being a part of the EIFS scope of work, essentially requiring EIFS contractors to carry out that work as well. The technical national consensus standard for the definition of an EIFS, as published by ASTM International does not include flashing or sealants as part of the EIFS. Many of the EIFS manufacturers have their own standard details showing typical building conditions for window and door flashings, control joints, inside/outside corners, penetrations, and joints at dissimilar materials which should be followed for that manufacturers warranty.
EIFS installation[edit]
EIFS are typically attached to the outside face of exterior walls with an adhesive (cementitious or acrylic based) or mechanical fasteners. Adhesives are commonly used to attach EIFS to gypsum board, cement board, or concrete substrates. EIFS are attached with mechanical fasteners (specially designed for this application) when installed over housewraps (sheet-good weather barriers) such as are commonly used over wood sheathings. The supporting wall surface should be continuous (not "open framing") and flat.
EIFS since year 2000[edit]
Research, conducted by the Oak Ridge National Laboratory and supported by the Department of Energy, has validated that EIFS are the "best performing cladding"[10] in relation to thermal and moisture control when compared to brick, stucco, and cementitious fiberboard siding. In addition EIFS are in full compliance with modern building codes which emphasize energy conservation through the use of CI (continuous insulation) and a continuous air barrier. Both these components are built into today's EIFS products to provide maximum energy savings, reduced environmental impact over the life of the structure, and improved IAQ, Indoor Air Quality. Along with these functional advantages come virtually unlimited color, texture, and decorative choices to enhance curb appeal and enjoyment of almost any home or structure. [11]
EIFS before 2000 were barrier systems, meaning that the EIFS itself was the weather barrier. After 2000 the EIFS industry introduced the air/moisture barrier that resides behind the foam. In a study done by the Department Of Energy's Office of Science - Oak Ridge National Laboratory it was found that the best air/moisture barrier was a fluid barrier. The Oak Ridge National Laboratory, ATLANTA, Oct. 28, 2006 — EIFS "outperformed all other walls in terms of moisture while maintaining superior thermal performance." The National Institute of Standards and Technology (NIST) has evaluated the five life cycle stages of the environmental impact of EIFS alongside brick, aluminum, stucco, vinyl, and cedar. Depending on a variety of site and project specific conditions, EIFS have the potential to save money in construction costs and contribute toward energy efficient operations and environmental responsibility when correctly designed and executed.
EIFS have also passed a variety of fire tests that range from resistance to ignitability, that include: ASTM E 119, NFPA 268, NFPA 285, ANSI FM 4880.[12]
Composition and types of EIFS[edit]
Types of External Wall Insulation Systems (EWIS)
Types of EIFS are defined by their materials and the existence/absence of a drainage plane. The EIFS Industry Members Association (EIMA) defines two classes of EIFS, Class PB (polymer based) identified as PB EIFS and Class PM (polymer modified) identified as PM EIFS.
PB EIFS is the most common type in North America and historically used expanded polystyrene (EPS) insulation adhered to the substrate with fiberglass mesh embedded in a nominal 1/16 inch (1.6 mm) base coat which can receive additional layers of mesh and base coat for stronger impact resistance. Other types of insulation board can include polyisocyanurate.
PM EIFS use extruded polystyrene insulation (XEPS), and a thick, cementitious base coat applied over mechanically attached glass fiber reinforcing mesh. The system has joints similar to traditional stucco. PM EIFS have evolved to include different insulation materials and base coats.
The most common type of EIFS used today is the system that includes a drainage cavity, which allows any and all moisture to exit the wall. EIFS with drainage typically consists of the following components:
An optional water-resistive barrier (WRB) that covers the substrate
A drainage plane between the WRB and the insulation board that is most commonly achieved with vertical ribbons of adhesive applied over the WRB
Insulation board typically made of expanded polystyrene (EPS) which is secured with an adhesive or mechanically to the substrate
Glass-fiber reinforcing mesh embedded in the base coat
A water-resistant base coat that is applied on top of the insulation to serve as a weather barrier
A finish coat that typically uses colorfast and crack-resistant acrylic co-polymer technology.
[11]
If an EIFS with Drainage, or water-managed EIFS is installed, a water resistive barrier (aka a WRB) is first installed over the substrate (generally glass faced exterior-grade gypsum sheathing, oriented strand board (OSB) or plywood).[citation needed] The moisture barrier is applied to the entire wall surface with a mesh tape over joints and a liquid-applied membrane or a protective wrap like tyvek or felt paper. Then a drainage cavity is created (usually by adding some sort of space between the foam and the WRB). Then the other 3 layers, described above, are added. This type of EIFS is required by many building codes areas on wood frame construction, and is intended to provide a path for incidental water that may get behind the EIFS with a safe route back to the outside. The purpose is to preclude water from damaging the supporting wall.
Adhesives and finishes are water-based, and thus must be installed at temperatures well above freezing. Two types of adhesives are used with EIFS: those that contain Portland cement ("cementitious"), or do not have any Portland cement ("cementless"). Adhesives that contain Portland cement harden by the chemical reaction of the cement with water. Adhesives and finishes that are cementless harden by the evaporation of water. Adhesives come in two forms: The most common is in a plastic pail as a paste, to which Portland cement is added and as dry powders in sacks, to which water is added. Finishes come in a plastic pail, ready to use, like paint. EIFS insulation comes in individual pieces, usually 2' x 4', in large bags. The pieces are trimmed to fit the wall at the construction site.
Legal issues[edit]
EIFS systems have been the subject of several lawsuits in the United States, mostly related to the installation process and failure of the system causing moisture buildups and subsequent mold growth. The most notable case concerned the former San Martin, California courthouse. This case was settled for 12 million dollars.[13]
The basic underlying problem behind EIFS litigation was that EIFS was marketed as a cost-effective replacement for stucco. Stucco is expensive to install because it must be carefully applied by skilled craftsmen. General contractors switched to EIFS because they were supposed to be easy to install with unskilled or semi-skilled labor and would not crack like traditional stucco. Although EIFS if properly installed according to the manufacturer's directions should not have water intrusion problems, many installers cut corners by using insufficiently trained labor and also failed to supervise their work adequately. In turn, thousands of EIFS installations were noncompliant and suffered severe water intrusion and mold as a result. While the EIFS industry has consistently tried to shift the blame to installing contractors, the construction industry has retorted that using journeymen carpenters in turn eliminates the cost advantage of EIFS over stucco, and that the EIFS industry should have anticipated this issue and engineered its products from the beginning to be installed by unskilled labor or semi-skilled labor (that is, it should have been a fault-tolerant design).
Marketing of EIFS and the EIFS industry[edit]
EIFS account for about 10% of the US commercial wall cladding market.[citation needed] There are several dozen EIFS manufacturers in North America. Some sell nationwide, and some are regional in their area of business operations. The EIFS manufacturers sell the various system components (adhesives, coatings, etc.) through specialty building product distributors, who in turn resell the components to local EIFS installers.[citation needed] The top five EIFS producers account for about 90% of the US market. These producers include Dryvit Systems, STO Corp., BASF Wall Systems, Master Wall, and Parex.[citation needed]
EIFS architectural details[edit]
Another benefit of EIFS is the option to add architectural details that are composed of the same materials. EIFS mouldings or as they are commonly referred to, stucco mouldings, come in a large variety of shapes and sizes. They are widely used on residential/commercial projects in North America and are gaining popularity worldwide. Production methods have come a long way since their inception which allow manufacturers to create with great efficiency in a cost effective manner.
References[edit]
^ Jump up to: a b c The Hartford Loss Control Department. "Exterior Insulation and Finish Systems". Technical Information Paper Series. TIPS S 140.012. 1997. 1. Print.
Jump up ^ Thornburg, Douglas W., and John R. Henry. 2012 International Building Code Handbook. New York: Mcgraw-Hill ;, 2013. 506. Print.
Jump up ^ "AnimasInsurers Slapping EIFS Exclusions on Insurance Policies". Associated Construction Publications.
Jump up ^ "EIFS Insurance". eima.com.
Jump up ^ "Video Gallery". EIFSforChicago.com.
Jump up ^ Setting standards, Building Magazine, 2007-02-01. Retrieved 2013-11-30
Jump up ^ Condo nightmare: buyer beware of leaky rotten condos, Vancouver Courier, September 22, 2011.
Jump up ^ Leaky Buildings, New Zealand Parliament, 06 November 2002. Retrieved 2013-11-13
^ Jump up to: a b "About EIFS". EIMA.com. EIMA. Retrieved 2014-09-10.
Jump up ^ [1]
^ Jump up to: a b "About EIFS". EIMA.com. Retrieved 2014-09-10.
Jump up ^ "Fire Testing" (PDF). EIFSforChicago.com. Retrieved 2014-09-10.
Jump up ^ [2]
External links[edit]
Modern Wall Systems (MWS)
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