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  • Updated 05.24.2024
  • Released 10.09.1997
  • Expires For CME 05.24.2027

Alcohol abuse and its neurologic complications

Introduction

Overview

The topic of alcohol abuse related to acute and chronic exposure covers a wide spectrum of neurologic syndromes involving the central and peripheral nervous system. Historical perspectives, clinical manifestations, clinical vignettes, etiology, pathogenesis, pathophysiology, epidemiology, prognosis, complications, and management are all discussed in this updated article. In addition, the authors discuss select mechanisms of cellular injury by alcohol.

Key points

• Alcohol intoxication has an acute and chronic symptomatology.

• The lethal dose of alcohol varies widely and depends on many external and internal factors. Tolerance develops with repeated exposures.

• Wernicke-Korsakoff syndrome is particularly found in the alcoholic population.

• Alcohol affects almost all areas of the nervous system.

• Alcohol affects the functioning of many systems in the body (heart, liver, muscle, nerve).

Historical note and terminology

Humans have consumed alcohol for thousands of years. Indeed, archaeologists have found evidence of nearly 11,000-year-old beer brewing troughs at a site in Turkey called Göbekli Tepe (72).

The term “alcoholism” was first used by a Swedish physician in 1849 to describe the adverse systemic effects of alcohol. Also, early psychiatry texts described a syndrome of alcohol-related deterioration characterized by intellectual and behavioral abnormalities (12).

The Diagnostic and Statistical Manual of Mental Disorders, 4th edition, text revision (DSM-IV-Tr) defined alcoholism as “maladaptive pattern of drinking, leading to clinically significant impairment or distress” (13).

The definition of alcoholism by the National Council on Alcoholism and Drug Dependence and the American Society of Addiction Medicine is “a primary, chronic disease characterized by impaired control over drinking, preoccupation with the drug alcohol, use of alcohol despite adverse consequences, and distortions in thinking” (204).

The role of alcoholism in the development of cognitive and functional decline was known in Ancient Greece (138) and has received serious study in Western medicine for more than 250 years.

In Greek mythology, Silenus was the frequently drunken companion and tutor of the wine god Dionysus. Artistic depictions of the drunken Silenus show him supported by satyrs or carried by a donkey.

Some Renaissance artistic depictions of the drunken Silenus show features of alcoholic cirrhosis, perhaps most fully in the painting Drunken Silenus (1626) by Spanish painter Jusepe de Ribera (1591-1652): evident signs of liver disease in this painting include parotid gland swelling, spider angioma (left parasternal area), gynecomastia, and ascites.

Giambattista Morgagni (1682-1771)
Italian anatomist and pathologist Giambattista Morgagni (1682-1771). Line engraving by G. Simoncelli. (Courtesy of the Wellcome Collection.)

A clinic-pathologic description of hepatic encephalopathy from alcoholic cirrhosis was described by Italian anatomist and pathologist Giovanni Battista Morgagni (1682-1771), Professor of Anatomy at the University of Padua, in his De sedibus et causis morborum per anatomen indagatis (Seats and Causes of Diseases Investigated by Anatomy) (203).

John Coakley Lettsom (1744-1815)
English physician and philanthropist John Coakley Lettsom (1744-1815). Lettsom described alcoholic neuropathy. Portrait attributed to Johann Zoffany (1733-1810), circa 1782.

Alcoholic neuropathy was documented at least as early as 1787 by English physician and philanthropist John Coakley Lettsom (1744-1815) (179), but other neurologic complications of alcoholism were probably not recognized until the end of the 19th century or later.

Alcohol-related deficits in memory and intellectual ability were reported in 1878 by British psychiatrist Robert Lawson (1846-1896) of the Wonford House Lunatic Asylum in Exeter (175; 174).

Subsequently, in a series of three articles from 1887 to 1889, Russian neuropsychiatrist Sergei Sergeievich Korsakoff (sometimes spelled Korsakov; 1853/1854-1900) gave a comprehensive description of the persistent amnestic confabulatory state now known as Korsakoff psychosis, occurring in conjunction with peripheral polyneuropathy, a combination he initially labeled either as “psychosis associated with polyneuritis” or “polyneuritic psychosis” (160; 159; 158; 323; 318; 319; 317; 167; 170; 171). Korsakoff based his conclusions on at least 46 patients, about two-thirds of whom were alcoholics, whereas the remainder suffered from a diverse group of disorders associated with protracted vomiting.

Carl Wernicke
German neuropsychiatrist Carl Wernicke (1848-1905). Photograph by J.F. Lehmann in Munich. (Courtesy of the U.S. National Library of Medicine, a public domain.)

Korsakoff was apparently unaware of the syndrome incorporating a confusional state, ophthalmoparesis and other oculomotor findings, ataxia, and neuropathic features, which had been described by German neuropsychiatrist Carl Wernicke (1848-1905) in 1881 and labeled as “Die acute, hämorrhagische Poliencephalitis superior” (acute hemorrhagic superior polioencephalitis) and is now generally called Wernicke encephalopathy (328; 153; 154). The clinico-pathologic overlap between Wernicke encephalopathy and Korsakoff psychosis was ultimately recognized in the late 1920s and early 1930s (98; 141; 43), and the two terms became linked as Wernicke-Korsakoff syndrome.

The term “alcoholic hallucinosis” (also known as “alcohol hallucinosis” and “alcohol-related psychotic disorder”) refers to a disorder of acute onset, with a predominance of auditory hallucinations (although delusions and hallucinations in other sensory modalities may also be present), no disturbance of consciousness, and a history of heavy alcohol consumption (102).

Paul Eugen Bleuler (1857-1939)
Swiss psychiatrist Paul Eugen Bleuler (1857-1939), circa 1900. (Courtesy of the U.S. National Library of Medicine.)

This syndrome has often been attributed to Swiss psychiatrist Paul Eugen Bleuler (1857-1939), who labeled it alcoholic hallucinosis (Alkoholhalluzinose) and considered it as an alcoholic madness (Alkoholsahnsinn) (32); Bleuler was also responsible for other psychiatric terms, including schizophrenia, schizoid, and autism. However, in his textbook, Bleuler acknowledged the earlier description by Wernicke, who labeled the disorder as “chronic hallucinosis in alcoholism” (chronische Halluzinose beim Alkoholismus) (329). Even earlier, in 1847, the French author Claude-Nicolas- Séraphin Marcel described a similar symptom complex under the label of folie d'ivrogne (ie, drunken madness) (190).

Although alcoholic intoxication was long recognized in art, portrayals of delirium tremens in caricatures (289) and health propaganda posters became particularly prominent in the early 20th century, in the years before and during Prohibition (1920-1933) in the United States.

Marchiafava-Bignami disease is a progressive alcoholism-related neurologic disease characterized by corpus callosum demyelination and necrosis and subsequent atrophy. The disease was first described in 1903 by the Italian pathologists Ettore Marchiafava (1847-1935) and Amico Bignami (1862-1929) in an Italian Chianti drinker (191). In the autopsy of this patient, the middle two-thirds of the corpus callosum were necrotic.

In the last century, through careful observation and description, American neurologist and neuropathologist Raymond Delacy (“Ray”) Adams (1911-2008) made the most prodigious contributions in understanding the neurologic complications of alcohol abuse, in conjunction with various protégés, notably Boston-born neurologist Joseph Michael (“Joe”) Foley (1916-2012) and, subsequently, Canadian-American neurologist Maurice Victor (1920-2001) (02; 03; 04; 05; 92; 06; 320; 319; 321; 315; 322). Foley began to work with Adams on the neurologic manifestations of liver disease in the late 1940s after Foley returned from his military service during World War II (173; 168). In a series of reports from 1949 to 1953, Adams and Foley described the clinical (neurologic), electroencephalographic, and neuropathologic features of alcoholic liver disease, including the clinical and electrophysiologic features of asterixis (02; 03; 04; 05; 92).

Social commentary on the neurologic degeneration and social decay from alcoholism. The neurologic disorders and social decay resulting from alcoholism were targeted by social reformers in many countries since at least the 18th century.

Drunkard with death. From Images of death (1547), by Hans Holbein the younger. The German-Swiss painter and printmaker Hans Holbein the younger (c1497–1543) created a famous sequence of images in his Imagines mortis... [Images of death], now typically referred to as The Dance of Death. In one of these images, death is pouring alcohol down the throat of an alcoholic while another man next to him vomits from drinking too much.

Drunkard with death. From “The Dance of Death” (1547)

Death is pouring alcohol down the throat of an alcoholic while another man next to him vomits from drinking too much. Copy of a print by German-Swiss painter and printmaker Hans Holbein the younger (c1497-1543) from 1538. First...

Other 16th century images of the adverse effects of alcohol. Among the profusion of prints in the 16th century were many that showed the adverse effects of alcohol abuse: vomiting, ataxia, stupor, and coma.

Drunkard, vomiting in a ditch

From engraver and publisher Johann Theodor de Bry (1561-1623), after Nicolaas Braeu, after Flemish painter Karel van Mander (1548-1606), 1596. Title: [The epicurians celebrate this rite from a herd of swine]. From: Emblemata Sa...

“Venus, Podagra, and Bacchus.” In the 17th century, there were printed images that were meant to convey the dangers of venereal or alcoholic excess. Among these is the frontispiece of Scriptum apologetico-politicum de podagra oder das so benahmte ... Zipperlein (1687) by Johann Andreas Schlegel (fl 1657–1681). Sitting under grapevines heavy with fruit is Podagra who, though looking like the wise philosopher, personifies the excess represented by Venus and Bacchus who are sitting beside him.

"Venus, Podagra, and Bacchus"

Sitting under grapevines heavy with fruit is Podagra who, though looking like the wise philosopher, personifies the excess represented by Venus and Bacchus who are sitting beside him. Note the cane for Podagra (gout) and the la...

William Hogarth and Gin Lane. English engraver, pictorial satirist, and social critic William Hogarth (1697-1764) depicted the effects of alcoholism in his famous engraving, Gin Lane (1751).

Gin Lane (1751) by English engraver, pictorial satirist, and social critic William Hogarth (1697-1764)

Hogarth's engraving, published according to Act of Parliament on February 1, 1751 in support of what would become the "Gin Act," shows a poor London street (the area depicted is St. Giles, London) strewn with hopeless drunka...

Hogarth's engraving, published according to Act of Parliament on February 1, 1751, in support of what would become the "Gin Act," shows a poor London street (the area depicted is St. Giles, London) strewn with hopeless drunkards and lined with gin shops and a flourishing pawnbroker. The inhabitants of Gin Lane are being destroyed by their addiction to the foreign spirit of gin, with the engraving illustrating shocking scenes of child neglect, starvation, madness, drunken brawls, and death. Hogarth's illustration is filled with satirical humor: the pawnbroker's shop depicted is "S. Gripe pawnbroker;" the distillery is "Kilman distillery;" a gin shop sign reads "drunk for a penny, dead drunk for two pence, clean straw for nothing;" and a drunkard's paper is headed "the downfall of Mdam. gin."

A poem below the engraving reads as follows:

Gin cursed Fiend, with Fury fraught,
Makes human Race a Prey;
It enters by a deadly Draught,
And steals our Life away.

Virtue and Truth, driv'n to Despair,
It's Rage compells to fly,
But cherishes, with hellish Care,
Theft, Murder, Perjury.

Damn'd Cup! that on the Vitals preys,
That liquid Fire contains
Which Madness to the Heart conveys,
And rolls it thro' the Veins.

At that time, there was no quality control whatsoever, and gin was frequently adulterated (eg, with turpentine). When it became apparent that copious gin consumption was causing social problems, social reformers and the government made efforts to control the production of the spirit. The Spirit Duties Act (commonly known as the Gin Act of 1736) imposed high taxes on sales of gin, forbade the sale of gin in quantities of less than two gallons, and required an annual payment of £50 for a retail license. These measures had little effect beyond increasing smuggling and driving the distilling trade underground. The act was repealed by the Gin Act of 1743, which set much lower taxes and fees.

Alcohol addiction. Beginning in the 18th century, several images illustrated the addictive potential of alcohol. For example, English caricaturist and satirical poet John Collier (1708–1786), writing under the pseudonym Tim Bobbin, published two separate illustrations titled "They cry, who want it; having it they laugh" (1773) illustrating the craving for alcohol among addicts. Other later images emphasized the extent alcoholics will go to so that they can have alcohol, like one in which a bum drinks the alcohol from the cigar lighter. Some 19th century images took this issue more seriously and emphasized the struggle that alcohol addicts have with their "enemy."

Caricaturing the debate over the health effects of alcohol (1799–1902). British caricaturist and printmaker James Gillray (1756–1815), who was famous for his etched political and social satires, published an engraving entitled "Punch cures the Gout, the Colic, and the Tisick" (1799). Two men and a woman are sitting around a small table on which is a large punch bowl; each is holding a glass. On the right is seated a fat man with both feet and his left hand bandaged; in the center, a young woman is holding her stomach; and on the left, a man appears to be near death. The fat man with gout claims that "PUNCH cures the GOUT," to which the woman adds "the COLIC," and the sickly man adds "and the TISICK." Note that "tisick" in British English is archaic for a splutter (a short explosive spitting or choking noise) or a cough.

"Punch cures the Gout, the Colic, and the Tisick", 1799

Two men and a woman are sitting around a small table on which is a large punch bowl; each is holding a glass. On the right is seated a fat man with both feet and his left hand bandaged. In the center, a young woman is holding h...

In another caricature with a similar theme, artist William Heath (1795–1840) published an engraving entitled "Palatable Physic" (1810), in which "physic" meant medicine and alcohol was being promoted as a palatable medicine. Two men and a woman are sitting around a table drinking to their health. The man on the left, holding a glass of alcohol, claims "This good Appetite gives [sic]." The woman in the middle similarly holds a glass of alcohol and adds, "Cures the vapors also." The snarling man on the right, also holding a glass of alcohol, asks, "Will it Cure the Cursed Pain I have got in my toe?"

"Palatable Physic" [medicine], 1810

Two men and a woman are sitting around a table drinking to their health; the man on the right suffers from gout. The man on the left, holding a glass of alcohol, claims "This good Appetite gives [sic]." The woman in th...

Another illustration from this period, "The Rival Majicians [sic] or Raising the Spirit" (1808) by Samuel De Wilde (1748–1832), raises concern about the powerful effects of rum. Black men, representing the West Indies, distill sugar and molasses, while spirits representing the effects of alcohol emanate from a large vat, and representatives of agriculture, holding corn and barley, fall back in fear.

"The Rival Majicians or Raising the Spirit" (1808)

Huge distillation apparatus; black men, representing the West Indies, distill sugar and molasses. At right representatives of agriculture, holding corn and barley, fall back in fear. Spirits representing the effects of alcohol ...

In 1842, British caricaturist and book illustrator George Cruikshank (1792–1878) presented an illustration in which people are reaching for alcoholic drink falling from a pile of barrels of liquor likened to the upas tree; skeletons litter the ground. Alcohol is implicitly compared to the upas tree, a poisonous tree allegedly fatal to approach with sap that is used as arrow poison. A Dutch version of this image appeared a quarter century later, then with a warning against binge drinking.

In the print "King Alcohol, and his Prime Minister" (1872), designed and engraved by John Warner Barber (1798–1885), a man identified as "King Alcohol" and a skeleton representing Death stand on barrels labeled "Strong Beer, Wines, Rum, Gin, Brandies, Whiskies, compounded liquors," with "social class" and "moderate drinkers" on the left, as well as the "suicide and murderous fighter," and on the right, the "dead and drunken," their broken families, ruined homes, and their graves. "Hope" at lower left mourns the "60,000 annually in the U.[S.] States." "King Alcohol" holds a tankard in his raised right hand with a snake coiled around his arm. Printed above is reference to Proverbs XXIII 32: "In the end, it will bite like a snake and poison like a viper."

"King Alcohol, and his Prime Minister" (1872)

Designed and engraved by John Warner Barber (1798-1885). Print shows a man identified as "King Alcohol" and a skeleton representing Death standing on barrels labeled "Strong Beer, Wines, Rum, Gin, Brandies, Whiskies, compounded...

In a late-19th century sketch, a man holds up a glass of alcohol and says "It's killing me but I like it."

"It's killing me but I like it"

Drawing from between 1860 and 1902. Artist Thomas Nast (1840-1902). Forms part of the Cabinet of American illustration (Library of Congress). (Source: Courtesy of the U.S. Library of Congress, Washington, D.C. Public domain.)

Cartoons about the adverse effects of alcohol appeared in national magazines, including Harper's Weekly in the United States and other magazines in Europe.

“The Drunkard's Progress.” The 4-part sequence of "The Drunkard's Progress" (1826) by American engraver and historian John Warner Barber (1798–1885) depicts the neurologic and social decay from alcoholism, complete with biblical admonitions. In the first image, "The Morning Dram," the father is drinking at 8 AM, ignoring his wife and children.

The Drunkard's Progress, or the Direct Road to Poverty, Wretchedness & Ruin: The Morning Dram (1826)

Hand-colored engraving by John Warner Barber (1798-1885), printed in New Haven, Connecticut. Biblical quotation above the image: "Wo unto them that rise up early in the morning that they may follow Strong Drink... Isa 5 C. 11v....

In the second image, "The Grog Shop," two men are drinking at a saloon, while two are brawling, one is vomiting, and one is unconscious on a bench.

The Drunkard's Progress, or the Direct Road to Poverty, Wretchedness & Ruin: The Grog Shop (1826)

Hand-colored engraving by John Warner Barber (1798-1885), printed in New Haven, Connecticut. Biblical quotation above the image: "Wo unto them that are mighty to drink wine, and men of strength to mingle Strong Drink... Isaiah ...

In the third image, "The Confirmed Drunkard," the father is intoxicated on the floor, while his wife and children are afraid, and the home is falling apart.

The Drunkard's Progress, or the Direct Road to Poverty, Wretchedness & Ruin: The Confirmed Drunkard (1826)

Hand-colored engraving by John Warner Barber (1798-1885), printed in New Haven, Connecticut. Biblical quotation above the image: "Who hath wo? Who hath sorrow? Who hath contentions? Who hath wounds without cause? ... They that ...

In the final image of the sequence, "Concluding Scene," there is an auction sign on the house, ordered by the sheriff. The family is evicted and departing with the wife in tears.

The Drunkard's Progress, or the Direct Road to Poverty, Wretchedness & Ruin: Concluding Scene (1826)

Hand-colored engraving by John Warner Barber (1798-1885), printed in New Haven, Connecticut. Biblical quotations above the image: "The drunkard shall come to poverty. Proverbs 23 Chap. 21 v." [Proverbs 23:21] and "The wages of ...

Many other versions of "The Drunkard's Progress" were published in the 19th century, some of which showed as many as nine steps in the drunkard's gradual decline in society, including such adverse outcomes as poverty and disease, criminal activity, becoming a bum, and his eventual death by suicide, sometimes also highlighting the devastation wrought on the drunkard's family. There were also staged photographs of some of these adverse effects once photography was more readily available in the late 19th century.

Conceptually similar illustrations were "The Bottle" (1847) by British caricaturist and book illustrator George Cruikshank (1792–1878) of a man ruined by alcohol and placed in an institution and "A family losing their possessions after the husband turns to drink" (c1830–1860).

"The Bottle" (1847)

Illustration by British caricaturist and book illustrator George Cruikshank (1792-1878). A man, ruined by alcohol and placed in an institution, is huddled before a locked cage that protects a stove. He is visited by a son and d...

The hangover. In an interesting caricature from the 1830s, two cartoon panels illustrate the effects of overindulging in alcohol. "Night" depicts a laughing man with friends seated at a table set with decanters labeled "Port" and "Sherry," holding a goblet of wine in his raised right hand and fruit in his left hand. "Morning" depicts the same man lying in bed tormented by two imp-like figures personifying wine: "Sherry" hammers the man's head while "Port" prods his stomach with a red-hot poker. This indicates some of the symptoms of a hangover: headache and nausea.

"Night Morning”

Two cartoon panels illustrate the effects of overindulging in alcohol. "Night" (left panel) depicts a laughing man with friends seated at a table set with decanters labeled "Port" and "Sherry," holding a goblet of wine in his r...

The responsibility of purveyors of alcohol for the negative effects. Social critics and reformers blamed both the alcoholic and those that manufactured or sold alcohol for the adverse outcomes on individuals and society. The responsibility of purveyors of alcohol for the negative effects was portrayed in various ways, but often with religious overtones. For example, the engraving titled "Illustration of the Rumseller's just doom and final exit" (1835).

Illustration of the Rumseller's just doom and final exit (1835)

The Latin expression "Facilis descensus Averni: sed revocare gradum, Hoc opus, hic labor est." is translated below as "The descent to Perdition is easy--but to retrace one's steps--this is labor--this a task severe." The work i...

A Latin expression serves as an epigram: "Facilis descensus Averni: sed revocare gradum, Hoc opus, hic labor est." ("The descent to Perdition is easy—but to retrace one's steps—this is labor—this a task severe.") The engraving depicts a man who is praying the rosary, about to be impaled by the devil, and struck by lightning bolts held in the hand of God. He is descending into Hell, portrayed by fire, smoke, a snake, and a fire-breathing serpent or dragon. A poem below the engraving reads as follows:

Behold! the soulless wretch—destroyer of his race—
In adamantine Chains—no more to show his face—
His Cup of Sin is full—fast flowing o'er the drim—
His light is quite extinct—there is no hope for him.


Companion of the worm—the victim of despair—
Lost to human sympathy—lost to Christian prayer—
Persued by wrath divine—hurled from the realms of light—
He sinks into the abyss—of one, eternal night.

Prohibition in the United States. Leading up to Prohibition in the United States, numerous forms of propaganda were used to convince people of the harms of alcohol (or of its relative safety by opponents of prohibition). One political cartoon of that era, "A sample room and its samples" (1902), for example, depicted a saloon keeper in front of a morbid saloon window display.

Toxic effects of alcohol: a sample room and its samples (1902)

A saloon keeper in front of a morbid saloon window display. The window display sign says: "SHOW WINDOW EXHIBIT. WHAT OUR LIQUORS CAN DO. GENUINE SPECIMENS MADE ON THE PREMISES." In the window display are five people, four label...

The window display sign says: "SHOW WINDOW EXHIBIT. WHAT OUR LIQUORS CAN DO. GENUINE SPECIMENS MADE ON THE PREMISES." The implications of this sign are displayed in the window in the form of five people damaged by alcohol, four of whom are labeled with their alcohol-induced problems: madman, tramp, convict, and idiot child (fetal alcohol syndrome). The fifth person, a woman, appears depressed or confused.

American poet Will Carleton (1845–1912) published "The serpent of the still" first in 1887 in Harper's Weekly and then in a collection of his poems directed at "young Americans" in 1906 (46; 47).

American poet Will Carleton (1845-1912)

Carleton was the author of "The Serpent of the Still" (1906). (Source: The Magazine of Poetry 1890;2. Public domain.)

The Serpent of the Still

The tempter, as God's legends tell—
Allowed on earth to roam—
Crushed that which Woman loves so well,
Her sweet and sacred home.
From Eden, lost through his black art,
She wandered out forlorn;
She cursed him in her gentle heart
With meek but deadly scorn.
And since, in varied guise of sin,
He works his hateful will,
And reappears to-day within T
The serpent of the still.


He comes not now in subtle mood—
With smiles, as long ago—
Enticing her by honeyed food,
And mysteries she may know;
He makes insulting, swift advance
Into her bright home-nest,
Admitted and embraced, perchance,
By those she loves the best.

(46; 47)

Both versions were accompanied by an arresting illustration, "He twines about her trembling life," by popular pen and ink illustrator Jessie Curtis Shepherd (1842–1907): A mother is holding off a boa constrictor wrapped around her and her three small children, with flames surrounding them, a liquor store is in the background, and a still is behind them with the inscription "The worm of the still."

"The Serpent of the Still" by artist Jessie Curtis Shepherd (1842-1907)

A mother is holding off a boa constrictor wrapped around her and her three small children. Flames surround them. A liquor store is in the background on the right. A still is behind them on the right, with the inscription "The w...

Even before Prohibition, some laws restricted very high alcohol content spirits. For example, the anise-flavored spirit absinthe was banned in the U.S. in 1912 and in several European countries around that time due to its alleged dangerous properties, being 45% to 74% alcohol by volume or 90 to 148 proof in the U.S.

Glen White in Gem's great instructive play, "Absinthe--Reflective moments" (1913)

Motion picture poster for "Absinthe" shows a man seated, with hand on head, at table with three glasses of absinthe. Metropolitan Division, U.S. Lithograph Company. (Source: Courtesy of the U.S. Library of Congress, Washington,...

The 18th Amendment to the U.S. Constitution banned the manufacture, transportation, and sale of intoxicating liquors. The Volstead Act was ratified by the states on January 16, 1919, and went into effect on January 17, 1920, marking the beginning of the period in American history known as Prohibition. Despite an army of agents of the Bureau of Prohibition, Prohibition proved difficult to enforce; eventually, the illegal production and sale of liquor (“bootlegging”), the proliferation of illegal drinking spots ("speakeasies"), and the accompanying rise in gang violence and other crimes led to waning support for Prohibition by the end of the 1920s.

The 21st Amendment was ratified on December 5, 1933, repealing the 18th Amendment and ending Prohibition.

20th century public health messages concerning alcohol. A wide variation in public health messages were employed in the United States, but also in other countries with significant problems with alcoholism, like Russia. In the United States, anti-alcohol messaging was promulgated by the U.S. National Institute on Alcohol Abuse and Alcoholism in a variety of posters: "Getting drunk doesn't make you -- tall -- rich -- strong ... just drunk" (1973), "The typical alcoholic American" (1975), and "If you drink a lot of beer, you drink a lot" (1975).

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