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Mendelian inheritance
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Gregor Mendel, the Moravian Augustinian monk who founded the modern science of genetics
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Mendelian inheritance is a type of biological inheritance that follows the laws originally proposed by Gregor Mendel in 1865 and 1866 and re-discovered in 1900. These laws were initially very controversial. When Mendel's theories were integrated with the Boveri–Sutton chromosome theory of inheritance by Thomas Hunt Morgan in 1915, they became the core of classical genetics. Ronald Fisher later combined these ideas with the theory of natural selection in his 1930 book The Genetical Theory of Natural Selection, putting evolution onto a mathematical footing and forming the basis for population genetics and the modern evolutionary synthesis.[1]
Contents
[hide]
1 History
2 Mendel's laws
2.1 Law of Segregation of genes (the "First Law")
2.2 Law of Independent Assortment (the "Second Law")
2.3 Law of Dominance (the "Third Law")
3 Mendelian trait
4 Non-Mendelian inheritance
5 See also
6 Notes
7 References
8 Notes
9 External links
History[edit]
Main article: History of genetics
The principles of Mendelian inheritance were named for and first derived by Gregor Johann Mendel, a nineteenth-century Austrian monk[2] who formulated his ideas after conducting simple hybridisation experiments with pea plants (Pisum sativum) he had planted in the garden of his monastery.[3] Between 1856 and 1863, Mendel cultivated and tested some 5,000 pea plants. From these experiments, he induced two generalizations which later became known as Mendel's Principles of Heredity or Mendelian inheritance. He described these principles in a two-part paper, Versuche über Pflanzen-Hybriden (Experiments on Plant Hybridization), that he read to the Natural History Society of Brno on 8 February and 8 March 1865, and which was published in 1866.[4]
Mendel's conclusions were largely ignored by the vast majority. Although they were not completely unknown to biologists of the time, they were not seen as generally applicable, even by Mendel himself, who thought they only applied to certain categories of species or traits. A major block to understanding their significance was the importance attached by 19th-century biologists to the apparent blending of inherited traits in the overall appearance of the progeny, now known to be due to multi-gene interactions, in contrast to the organ-specific binary characters studied by Mendel.[3] In 1900, however, his work was "re-discovered" by three European scientists, Hugo de Vries, Carl Correns, and Erich von Tschermak. The exact nature of the "re-discovery" has been somewhat debated: De Vries published first on the subject, mentioning Mendel in a footnote, while Correns pointed out Mendel's priority after having read De Vries' paper and realizing that he himself did not have priority. De Vries may not have acknowledged truthfully how much of his knowledge of the laws came from his own work and how much came only after reading Mendel's paper. Later scholars have accused Von Tschermak of not truly understanding the results at all.[3]
Regardless, the "re-discovery" made Mendelism an important but controversial theory. Its most vigorous promoter in Europe was William Bateson, who coined the terms "genetics" and "allele" to describe many of its tenets. The model of heredity was highly contested by other biologists because it implied that heredity was discontinuous, in opposition to the apparently continuous variation observable for many traits. Many biologists also dismissed the theory because they were not sure it would apply to all species. However, later work by biologists and statisticians such as Ronald Fisher showed that if multiple Mendelian factors were involved in the expression of an individual trait, they could produce the diverse results observed, and thus showed that Mendelian genetics is compatible with natural selection. Thomas Hunt Morgan and his assistants later integrated Mendel's theoretical model with the chromosome theory of inheritance, in which the chromosomes of cells were thought to hold the actual hereditary material, and created what is now known as classical genetics, a highly successful foundation which eventually cemented Mendel's place in history.
Mendel's findings allowed scientists such as Fisher and J.B.S. Haldane to predict the expression of traits on the basis of mathematical probabilities. An important aspect of Mendel's success can be traced to his decision to start his crosses only with plants he demonstrated were true-breeding. He also only measured absolute (binary) characteristics, such as color, shape, and position of the seeds, rather than quantitatively variable characteristics. He expressed his results numerically and subjected them to statistical analysis. His method of data analysis and his large sample size gave credibility to his data. He also had the foresight to follow several successive generations (F2, F3) of pea plants and record their variations. Finally, he performed "test crosses" (backcrossing descendants of the initial hybridization to the initial true-breeding lines) to reveal the presence and proportions of recessive characters. Without his diligence and careful attention to procedure and detail, Mendel's work would have had a much smaller impact on the world of genetics.
Mendel's laws[edit]
A Punnett square for one of Mendel's pea plant experiments - self-fertilization of the F1 generation.
Mendel discovered that, when he crossed purebred white flower and purple flower pea plants (the parental or P generation), the result was not a blend. Rather than being a mix of the two, the offspring (known as the F1 generation) was purple-flowered. When Mendel self-fertilized the F1 generation pea plants, he obtained a purple flower to white flower ratio in the F2 generation of 3 to 1. The results of this cross are tabulated in the Punnett square to the right.
He then conceived the idea of heredity units, which he called "factors". Mendel found that there are alternative forms of factors—now called genes—that account for variations in inherited characteristics. For example, the gene for flower color in pea plants exists in two forms, one for purple and the other for white. The alternative "forms" are now called alleles. For each biological trait, an organism inherits two alleles, one from each parent. These alleles may be the same or different. An organism that has two identical alleles for a gene is said to be homozygous for that gene (and is called a homozygote). An organism that has two different alleles for a gene is said be heterozygous for that gene (and is called a heterozygote).
Mendel also hypothesized that allele pairs separate randomly, or segregate, from each other during the production of gametes: egg and sperm. Because allele pairs separate during gamete production, a sperm or egg carries only one allele for each inherited trait. When sperm and egg unite at fertilization, each contributes its allele, restoring the paired condition in the offspring. This is called the Law of Segregation. Mendel also found that each pair of alleles segregates independently of the other pairs of alleles during gamete formation. This is known as the Law of Independent Assortment.[5]
The genotype of an individual is made up of the many alleles it possesses. An individual's physical appearance, or phenotype, is determined by its alleles as well as by its environment. The presence of an allele does not mean that the trait will be expressed in the individual that possesses it. If the two alleles of an inherited pair differ (the heterozygous condition), then one determines the organism’s appearance and is called the dominant allele; the other has no noticeable effect on the organism’s appearance and is called the recessive allele. Thus, in the example above the dominant purple flower allele will hide the phenotypic effects of the recessive white flower allele. This is known as the Law of Dominance but it is not a transmission law, dominance has to do with the expression of the genotype and not its transmission. The upper case letters are used to represent dominant alleles whereas the lowercase letters are used to represent recessive alleles.
Mendel's laws of inheritance
Law
Definition
Law of segregation During gamete formation, the alleles for each gene segregate from each other so that each gamete carries only one allele for each gene.
Law of independent assortment Genes for different traits can segregate independently during the formation of gametes.
Law of dominance Some alleles are dominant while others are recessive; an organism with at least one dominant allele will display the effect of the dominant allele.
In the pea plant example above, the capital "B" represents the dominant allele for purple flowers and lowercase "b" represents the recessive allele for white flowers. Both parental plants were true-breeding, and one parental variety had two alleles for purple flowers (BB) while the other had two alleles for white flowers (bb). As a result of fertilization, the F1 hybrids each inherited one allele for purple flowers and one for white. All the F1 hybrids (Bb) had purple flowers, because the dominant B allele has its full effect in the heterozygote, while the recessive b allele has no effect on flower color. For the F2 plants, the ratio of plants with purple flowers to those with white flowers (3:1) is called the phenotypic ratio. The genotypic ratio, as seen in the Punnett square, is 1 BB : 2 Bb : 1 bb.
Law of Segregation of genes (the "First Law")[edit]
Figure 1 Dominant and recessive phenotypes.
(1) Parental generation.
(2) F1 generation.
(3) F2 generation. Dominant (red) and recessive (white) phenotype look alike in the F1 (first) generation and show a 3:1 ratio in the F2 (second) generation.
The Law of Segregation states that every individual organism contains two alleles for each trait, and that these alleles segregate (separate) during meiosis such that each gamete contains only one of the alleles.[6] An offspring thus receives a pair of alleles for a trait by inheriting homologous chromosomes from the parent organisms: one allele for each trait from each parent.[6]
Molecular proof of this principle was subsequently found through observation of meiosis by two scientists independently, the German botanist Oscar Hertwig in 1876, and the Belgian zoologist Edouard Van Beneden in 1883. Paternal and maternal chromosomes get separated in meiosis and the alleles with the traits of a character are segregated into two different gametes. Each parent contributes a single gamete, and thus a single, randomly successful allele copy to their offspring and fertilization.
Law of Independent Assortment (the "Second Law")[edit]
Figure 2 Dihybrid cross. The phenotypes of two independent traits show a 9:3:3:1 ratio in the F2 generation. In this example, coat color is indicated by B (brown, dominant) or b (white), while tail length is indicated by S (short, dominant) or s (long). When parents are homozygous for each trait (SSbb and ssBB), their children in the F1 generation are heterozygous at both loci and only show the dominant phenotypes (SsbB). If the children mate with each other, in the F2 generation all combinations of coat color and tail length occur: 9 are brown/short (purple boxes), 3 are white/short (pink boxes), 3 are brown/long (blue boxes) and 1 is white/long (green box).
The Law of Independent Assortment states that alleles for separate traits are passed independently of one another from parents to offspring.[7] That is, the biological selection of an allele for one trait has nothing to do with the selection of an allele for any other trait. Mendel found support for this law in his dihybrid cross experiments (Fig. 1). In his monohybrid crosses, an idealized 3:1 ratio between dominant and recessive phenotypes resulted. In dihybrid crosses, however, he found a 9:3:3:1 ratios (Fig. 2). This shows that each of the two alleles is inherited independently from the other, with a 3:1 phenotypic ratio for each.
Independent assortment occurs in eukaryotic organisms during meiotic prophase I, and produces a gamete with a mixture of the organism's chromosomes. The physical basis of the independent assortment of chromosomes is the random orientation of each bivalent chromosome along the metaphase plate with respect to the other bivalent chromosomes. Along with crossing over, independent assortment increases genetic diversity by producing novel genetic combinations.
There are many violations of independent assortment due to genetic linkage.
Of the 46 chromosomes in a normal diploid human cell, half are maternally derived (from the mother's egg) and half are paternally derived (from the father's sperm). This occurs as sexual reproduction involves the fusion of two haploid gametes (the egg and sperm) to produce a new organism having the full complement of chromosomes. During gametogenesis—the production of new gametes by an adult—the normal complement of 46 chromosomes needs to be halved to 23 to ensure that the resulting haploid gamete can join with another gamete to produce a diploid organism. An error in the number of chromosomes, such as those caused by a diploid gamete joining with a haploid gamete, is termed aneuploidy.
In independent assortment, the chromosomes that result are randomly sorted from all possible maternal and paternal chromosomes. Because zygotes end up with a random mix instead of a pre-defined "set" from either parent, chromosomes are therefore considered assorted independently. As such, the zygote can end up with any combination of paternal or maternal chromosomes. Any of the possible variants of a zygote formed from maternal and paternal chromosomes will occur with equal frequency. For human gametes, with 23 pairs of chromosomes, the number of possibilities is 223 or 8,388,608 possible combinations.[8] The zygote will normally end up with 23 chromosomes pairs, but the origin of any particular chromosome will be randomly selected from paternal or maternal chromosomes. This contributes to the genetic variability of progeny.
Law of Dominance (the "Third Law")[edit]
Mendel's Law of Dominance states that recessive alleles will always be masked by dominant alleles. Therefore, a cross between a homozygous dominant and a homozygous recessive will always express the dominant phenotype, while still having a heterozygous genotype. The Law of Dominance can be explained easily with the help of a mono hybrid cross experiment:- In a cross between two organisms pure for any pair (or pairs) of contrasting traits (characters), the character that appears in the F1 generation is called "dominant" and the one which is suppressed (not expressed) is called "recessive." Each character is controlled by a pair of dissimilar factors. Only one of the characters expresses. The one which expresses in the F1 generation is called Dominant. However, the law of dominance is not universally applicable.[citation needed]
Mendelian trait[edit]
A Mendelian trait is one that is controlled by a single locus in an inheritance pattern. In such cases, a mutation in a single gene can cause a disease that is inherited according to Mendel's laws. Examples include sickle-cell anemia, Tay-Sachs disease, cystic fibrosis and xeroderma pigmentosa. A disease controlled by a single gene contrasts with a multi-factorial disease, like arthritis, which is affected by several loci (and the environment) as well as those diseases inherited in a non-Mendelian fashion.[citation needed]
Non-Mendelian inheritance[edit]
In four o'clock plants, the alleles for red and white flowers show incomplete dominance. As seen in the F1 generation, heterozygous (wr) plants have "pink" flowers—a mix of "red" (rr) and "white" (ww) coloring. The F2 generation shows a 1:2:1 ratio of red:pink:white
Main article: Non-Mendelian inheritance
Mendel explained inheritance in terms of discrete factors—genes—that are passed along from generation to generation according to the rules of probability. Mendel's laws are valid for all sexually reproducing organisms, including garden peas and human beings. However, Mendel's laws stop short of explaining some patterns of genetic inheritance. For most sexually reproducing organisms, cases where Mendel's laws can strictly account for the patterns of inheritance are relatively rare. Often, the inheritance patterns are more complex.
The F1 offspring of Mendel's pea crosses always looked like one of the two parental varieties. In this situation of "complete dominance," the dominant allele had the same phenotypic effect whether present in one or two copies. But for some characteristics, the F1 hybrids have an appearance in between the phenotypes of the two parental varieties. A cross between two four o'clock (Mirabilis jalapa) plants shows this common exception to Mendel's principles. Some alleles are neither dominant nor recessive. The F1 generation produced by a cross between red-flowered (RR) and white flowered (WW) Mirabilis jalapa plants consists of pink-colored flowers (RW). Which allele is dominant in this case? Neither one. This third phenotype results from flowers of the heterzygote having less red pigment than the red homozygotes. Cases in which one allele is not completely dominant over another are called incomplete dominance. In incomplete dominance, the heterozygous phenotype lies somewhere between the two homozygous phenotypes.
A similar situation arises from codominance, in which the phenotypes produced by both alleles are clearly expressed. For example, in certain varieties of chicken, the allele for black feathers is codominant with the allele for white feathers. Heterozygous chickens have a color described as "erminette", speckled with black and white feathers. Unlike the blending of red and white colors in heterozygous four o'clocks, black and white colors appear separately in chickens. Many human genes, including one for a protein that controls cholesterol levels in the blood, show codominance, too. People with the heterozygous form of this gene produce two different forms of the protein, each with a different effect on cholesterol levels.
In Mendelian inheritance, genes have only two alleles, such as a and A. In nature, such genes exist in several different forms and are therefore said to have multiple alleles. A gene with more than two alleles is said to have multiple alleles. An individual, of course, usually has only two copies of each gene, but many different alleles are often found within a population. One of the best-known examples is coat color in rabbits. A rabbit's coat color is determined by a single gene that has at least four different alleles. The four known alleles display a pattern of simple dominance that can produce four coat colors. Many other genes have multiple alleles, including the human genes for ABO blood type.
Furthermore, many traits are produced by the interaction of several genes. Traits controlled by two or more genes are said to be polygenic traits. Polygenic means "many genes." For example, at least three genes are involved in making the reddish-brown pigment in the eyes of fruit flies. Polygenic traits often show a wide range of phenotypes. The broad variety of skin color in humans comes about partly because at least four different genes probably control this trait.
See also[edit]
History of Science portal
MCB portal
Introduction to genetics
List of Mendelian traits in humans
Mendelian diseases (monogenic disease)
Mendelian error
Particulate inheritance
Punnett square
Notes[edit]
References[edit]
Jump up ^ Grafen, Alan; Ridley, Mark (2006). Richard Dawkins: How A Scientist Changed the Way We Think. New York, New York: Oxford University Press. p. 69. ISBN 0-19-929116-0.
Jump up ^ E. B. Ford (1960). Mendelism and Evolution (seventh ed.). Methuen & Co (London), and John Wiley & Sons (New York). p. 1.
^ Jump up to: a b c Henig, Robin Marantz (2009). The Monk in the Garden : The Lost and Found Genius of Gregor Mendel, the Father of Modern Genetics. Houghton Mifflin. ISBN 0-395-97765-7. The article, written by an Austrian monk named Gregor Johann Mendel...
Jump up ^ See Mendel's paper in English: Gregor Mendel (1865). "Experiments in Plant Hybridization".
Jump up ^ "Pearson - The Biology Place". www.phschool.com. Retrieved 2017-04-26.
^ Jump up to: a b Bailey, Regina (5 November 2015). "Mendel's Law of Segregation". about education. About.com. Retrieved 2 February 2016.
Jump up ^ Bailey, Regina. "Independent Assortment". about education. About.com. Retrieved 24 February 2016.
Jump up ^ Perez, Nancy. "Meiosis". Retrieved 15 February 2007.
Notes[edit]
Peter J. Bowler (1989). The Mendelian Revolution: The Emergence of Hereditarian Concepts in Modern Science and Society. Johns Hopkins University Press.
Atics, Jean. Genetics: The life of DNA. ANDRNA press.
Reece, Jane B., and Neil A. Campbell. "Mendel and the Gene Idea." Campbell Biology. 9th ed. Boston: Benjamin Cummings / Pearson Education, 2011. 265.
External links[edit]
Khan Academy, video lecture
Probability of Inheritance
Mendel's principles of Inheritance
Mendelian genetics
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Sebastian Shaw (actor)
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Sebastian Shaw
Shaw in a 1979 episode of Rumpole of the Bailey
Born
Sebastian Lewis Shaw
(1905-05-29)29 May 1905
Holt, Norfolk, England
Died
23 December 1994(1994-12-23) (aged 89)
Brighton, Sussex, England
Education
Slade School of Fine Art
Alma mater
Royal Academy of Dramatic Arts
Occupation
Actor
director
novelist
playwright
poet
Years active
1914–1991
Spouse(s)
Margaret Kate S Wellesley Lynn (stage name Delamere) (1929–1956)
Sebastian Lewis Shaw (29 May 1905 – 23 December 1994) was an English actor, director, novelist, playwright and poet. During his 65-year career, he appeared in dozens of stage performances and more than 40 film and television productions.
Shaw was born and brought up in Holt, Norfolk, and made his acting debut at age eight at a London theatre. He studied acting at Gresham's School and the Royal Academy of Dramatic Art. Although he worked primarily on the London stage, he made his Broadway debut in 1929, when he played one of the two murderers in Rope's End. He appeared in his first film, Caste, in 1930 and quickly began to create a name for himself in films. He described himself as a "rotten actor"[1] as a youth and said his success was primarily due to his good looks. He claimed to mature as a performer only after returning from service in the Royal Air Force during World War II.
Shaw was particularly known for his performances in productions of Shakespeare plays which were considered daring and ahead of their time. In 1966, he joined the Royal Shakespeare Company, where he remained for a decade and delivered some of his most acclaimed performances. He also wrote several poems and a novel, The Christening, in 1975. He is also known for his brief but important performance in Return of the Jedi, the original third installment in the Star Wars franchise, in which he portrayed an unmasked and redeemed Anakin Skywalker (formerly Darth Vader), and his ghost in the original version of the film.
Contents
[hide]
1 Early life and career
2 World War II and post-war career
3 Royal Shakespeare Company
4 Writing career
5 Return of the Jedi
6 Later career and death
7 TV and filmography
8 References
9 External links
Early life and career[edit]
Shaw was one of three children born to Dr. Geoffrey Shaw, the music master at Gresham's School, a Norfolk independent boarding school, where Shaw began his education.[2] His uncle, Martin Shaw, was a composer of church music, and his family's love of music heavily influenced Shaw's career path.[3] Shaw made his acting debut at age eight on the London stage as one of the juvenile band in The Cockyolly Bird at the Royal Court Theatre in Chelsea[2] on New Year's Day of 1914.[3] During his time at Gresham's, he also played Petruchio in The Taming of the Shrew, his first of many performances from the works of William Shakespeare; schoolmate W. H. Auden, who would go on to become a highly regarded poet, portrayed Katherina in the play opposite him.[3] After Gresham's, Shaw planned to become a painter and spent two years at the Slade School of Fine Art before switching his interests to acting; regarding the change, his father informed him, "I wondered when you would come to your senses."[3] He earned a scholarship to the Royal Academy of Dramatic Art in Bloomsbury, London.[2] Actor Charles Laughton enrolled in the Academy at the same time as Shaw, who later said his first impression of Laughton was "a poor fat boy".[4] Although Shaw and his fellow students initially felt pity for Laughton, they were quickly impressed with his talent.[4]
A young Sebastian Shaw
Shaw appeared in regional theatres in Bristol, Liverpool and Hull. In 1925, he performed in London as the Archangel in The Sign of the Sun, and played first Lewis Dodd and then the Major in separate productions of The Constant Nymph.[1] He received instruction in verse speaking under famed theatre director William Bridges-Adams in the Stratford Festival Company at Stratford-upon-Avon,[3] where he played some of his early Shakespeare roles, including Romeo in Romeo and Juliet, Ferdinand in The Tempest and Prince Hal in Henry IV in 1926. He was criticised for the audacity he displayed in the latter role. When Prince Hal takes on his kingship and rejects the self-indulgent character Falstaff, convention of the day called for Prince Hal to change from a jovial drinking partner to an arrogant snob, but Shaw saw the view as simple-minded and contradictory toward Shakespeare's script. Instead, he displayed inward regrets about leaving Falstaff and accepting the new responsibilities. The interpretation was criticised at the time but, years later, became the standard approach to the character.[5]
Shaw made his Broadway debut in 1929, when he played the murderer Wyndham Brandon in Patrick Hamilton's stage thriller, Rope's End. In 1929, he married Margaret Delamere and lived with her in the Albany, an apartment complex off of Piccadilly in London.[2] The two would eventually have a daughter together named Drusilla (born 1932).[6] He returned to the works of William Shakespeare in 1931, playing Claudio in Measure for Measure at London's Fortune Playhouse. In 1932 he once again played Romeo at the Embassy Theatre.[1] Other works around this period included productions of Ivor Novello's Sunshine Sisters in 1933, Double Door alongside actress Sybil Thorndike in 1934, J.M. Barrie's A Kiss for Cinderella in 1937, and Robert Morley's Goodness, How Sad in 1938.[3]
The first film Shaw appeared in was Caste in 1930. He soon began to make a name for himself in films such as Brewster's Millions in 1935, Men Are Not Gods in 1936 and Farewell Again in 1937.[1] He was making about £300 a week during this stage of his career,[2] a significant sum higher than the salary of the British Prime Minister of the time. He brought what the Daily Telegraph described as a "smooth villainy"[1] to the role of Frank Sutton in The Squeaker in 1937, while in 1939 he played the hero Cmdr. David Blacklock alongside Conrad Veidt and Valerie Hobson in The Spy in Black, Michael Powell and Emeric Pressburger's first collaboration.[1] Shaw described himself as a film buff and called Academy Award-winning actor Spencer Tracy his "great god of all screen actors";[7] he was so impressed by Tracy's technique that he claimed to become depressed while watching his films because Tracy made acting look simple, while Shaw claimed to find it so difficult to master himself.[7]
World War II and post-war career[edit]
When World War II broke out, Shaw took a break from acting and joined the Royal Air Force.[2] He was commissioned as an Acting-Pilot Officer on probation in the Administrative and Special Duties Branch on 25 April 1941[8] and over the next three months was promoted to Pilot Officer on probation,[9] then Flying Officer[10] and then Flight Lieutenant.[11] According to his obituary in the Guardian, he saw little action in the service and was told the only chance he would have to fly would be as a rear gunner. Some of his fellow airmen hounded Shaw for autographs while others mocked his posh accent, to which he retaliated with an excellent and unflattering imitation of their less refined speech.[2] He continued to hold a Royal Air Force Volunteer Reserve commission after the war until he resigned the commission on 10 February 1954; he was permitted to retain his rank.[12]
Immediately upon returning to London after the war, Shaw lost his Albany flat and his acting contract, and essentially had to restart his acting career.[2] Although he made 20 films before the war and had already begun to develop a reputation as a strong leading man, in later years he would describe himself as "a rotten actor"[1] in the 1930s who landed roles based mainly on his good looks. He used the phrase "a piece of cinema beefcake"[1] to describe himself as an actor during that period.[1] He felt that after his return home from military service, he learned to act properly and began to mature as a performer.[2] Shaw's Royal Air Force experience was put to good use when he played a pilot in Journey Together, the 1946 RAF training film in which actor Edward G. Robinson coached actor Richard Attenborough in the rudiments of flying.[13]
In 1945, Shaw returned to the Embassy Theatre to direct Fyodor Dostoevsky's The Gambler. Significant theatre roles that decade included Hercules in The Thracian Horses at the Lyric Theatre, Hammersmith in 1946, Mr. Hern-Lawrence in Florida Scott-Maxwell's experimental I Said to Myself at the Mercury Theatre, Notting Hill Gate in 1947,[14] Sir James Kirkham in His Excellency at Prince's Theatre in 1950, and Filmer Jesson, MP, in Arthur Wing Pinero's His House In Order at New Theatre in 1951. In 1956, he played the title role in the first British production of Hugo von Hofmannsthal's Everyman.[1] That same year, he wrote the lyrics to his father's ballad-opera, All at Sea, which played at the Royal College of Music. In 1957, he played Lucifer in Brother Lucifer in Shrewsbury, Shropshire, and a sinister Venetian agent in Jonathan Griffin's The Hidden King in Edinburgh.[3]
As Shaw grew older, his reputation as a dramatic actor grew stronger, and he became known for a sharp intelligence and dignified style. Although his good looks diminished, reviewers felt that he used his florid and weatherbeaten face well in evoking grandeur and self-assuredness in such roles as generals, priests and his familiar Shakespearean parts.[1][13] In 1956, his wife Margaret Delamere died; she was survived by their daughter Drusilla.[6] Shaw began a romantic relationship in the mid-1950s with Joan Ingpen, the well-known classical music and opera talent agent who had previously represented him. The two were romantically involved, to the point that she took his surname, until Shaw's death.[15] During the 1980s, however, Shaw also had a brief relationship with Harriet Ravenscroft, the mother of the disc jockey John Peel, whom he met while performing at Ludlow Castle at Ludlow. He split his time between Ingpen and Ravenscroft on a four-day rotating basis to which both women consented. Although Peel got along with Shaw and said he made his mother happy, he said he did not feel comfortable with the arrangement. He felt it disrupted his mother's friendships and prospects for a more stable relationship.[16]
In 1965, British theatre director William Gaskill was named artistic director of the Royal Court Theatre, where he hoped to re-establish a repertoire. He approached Shaw, who had made his acting début at the Royal Court Theatre as a youth, and Shaw agreed to return.[13] There he delivered several performances over the next year, including General Conrad von Hotzendorf in John Osborne's A Patriot for Me; various roles in Ann Jellicoe's Shelley; Sir Francis Harker in N.F. Simpson's The Cresta Run and Pte Atterclife in John Arden's Serjeant Musgrave's Dance.[1]
Royal Shakespeare Company[edit]
In 1966, Shaw joined the Royal Shakespeare Company, where he spent the next decade of his career[2] and eventually became an associate artist.[3] He mostly appeared in Shakespeare plays, including the title role in Cymbeline, Edmund of Langley in Richard II,[1] the King in All's Well That Ends Well, Ulysses in Troilus and Cressida, and Leonato in Much Ado About Nothing.[3] The Times described his performance in the title role of Cymbeline as "awe-inspiring",[3] and The Independent described his performance as Polonius in Hamlet as "unrivalled in his complacency and sense of circumstance".[13] The Telegraph described his performance of Gloucester in King Lear as "doleful"[1] and his performance of Duncan in Macbeth as "decent".[1] Many of the company's Shakespearean productions at the time were considered interpretive and modern, which drew criticism from some traditionalists, but Shaw defended the experimental nature of the shows and rejected the notion that plays should be restricted to preconceived interpretations.[5]
During his time with the company, he also demonstrated what the Daily Telegraph called a "crusty charm"[1] as Sir Oblong Fitz Oblong in Robert Bolt's children's play The Thwarting of Baron Bolligrew.[1] He was also noted as possessing a gift for dry comedy during this period of his acting career, exemplified by his roles in Maxim Gorky's plays Enemies and Summerfolk. He demonstrated a particular knack for Russian comedy in Jonathan Miller's productions of the Anton Chekhov plays Three Sisters and Ivanov.[1]
In 1978, Shaw earned acclaim for his performance as a judge in the stage debut of Whose Life Is It Anyway? at the Mermaid Theatre. The production won Laurence Olivier Awards for Best Play and Best Actor (Tom Conti).[1] Although 73 years old, Shaw did not let his age slow down his career. During the run of this production a mugger tried to steal his money, but Shaw chased him down, tackled him and recovered his property. Later that year, he was painted in the nude by his nephew, Brian Ocean.[2] During his later years, Shaw suffered a physical disability that made him tremble, which had a negative impact on his television roles, particularly when handling cups or trays of drinks. One of his later television appearances was in The Old Curiosity Shop, a 1979 mini-series based on the novel by Charles Dickens. Around this time, he also voiced the part of Squire Beltham in a radio production of The Adventures of Harry Richmond, which the Daily Telegraph said was "remembered with affection".[1] He lent his voice to several radio performances, both Shakespearean and modern, including protagonist John Tanner in the five-hour Man and Superman by George Bernard Shaw.[3]
Writing career[edit]
Shaw wrote Take a Life, his first play, in 1961. He directed a production of the show at London's Mermaid Theatre, where he also played the lead role of the Detective.[2] That same year he played two lead roles in George Bernard Shaw plays at the Dublin Theatre Festival: Mrs. Warren's Profession and Candida.[1] Around this time, he also wrote an outline for a television comedy series about four girls sharing a flat, inspired by his real-life daughter, who was in her early twenties and living in a flat with other girls her age. The series was submitted to the Granada Television company, which expressed interest in the show and said it was one of two under consideration for television. The company ultimately chose the other show, the long-running British soap opera Coronation Street.[5]
Shaw agreed to take certain roles only on the condition that he have complete freedom to rewrite his dialogue. When he appeared in It Happened Here, a 1966 World War II film, he wrote many of his own lines, which the filmmakers later said "gave his dialogue an individual slant which enhanced his performance".[13] He also helped in other aspects of the filmmaking, including casting; he introduced the filmmakers to Fiona Leland, who would be cast as Shaw's wife in It Happened Here.[13] He wrote other plays, including The Ship's Bell, The Cliff Walk, The Glass Maze and Cul de Sac.[4] He also wrote Poems, a collection of his personal poetry, which saw a limited print of 300 editions by publisher Exeter University.[17]
Shaw wrote The Christening, his only novel, in 1975.[1] It centres around Miles Madgwick, who believes that he is bisexual but is too timid to find out through physical intercourse, so he instead describes his most intimate thoughts in his diary. He then meets a married woman named Alice and her son, Rodney; he comes to identify with Rodney's childhood innocence, and in Alice sees a symbol both of his mother and a heterosexual lover. Alice starts to tire of her husband and grow fonder of Madgwick, who experiences mixed emotions in his continued interactions with her and Rodney. One night, Rodney stays overnight at Madgwick's house and, when he takes the boy home in a taxicab, the driver observes their strange behaviour and accuses Madgwick of being a pederast. When Alice asks Madgwick to become the godfather to her new child, the driver threatens to expose Madgwick, creating a conflict between losing his first feelings of intimacy with others or facing humiliation and ridicule at the driver's exposure.[18]
A description in the book cover flap reads, "In this tender, sensitive and blackly comic novel, Sebastian Shaw, the distinguished Shakespearean actor, explores areas of sexual and emotional encounter that are rarely seen and, unfortunately, too rarely understood."[1] Shaw originally planned to call the novel The Godfather, but later said he was glad he did not due to the popularity of Mario Puzo's book of that name.[5] He was said to have been working on another novel shortly after The Christening was completed, but no others were ever published.[5]
Return of the Jedi[edit]
Shaw in his portrayal as redeemed Anakin Skywalker, unmasked in Return of the Jedi
In 1982, Shaw was chosen for the small but crucial role of redeemed, unmasked and dying Anakin Skywalker in Return of the Jedi, the third and final film in the original Star Wars trilogy. Although David Prowse played the costumed scenes and James Earl Jones voiced Darth Vader, just as they had in the first two films, Shaw was cast in a single scene with Mark Hamill, during the moment aboard Death Star II when Luke Skywalker unmasks his dying father. Since the scene was unquestionably the emotional climax of the film, the casting crew sought an experienced actor for the role.[7]
When Shaw arrived at the set for filming, he ran into his friend Ian McDiarmid, the actor playing Emperor Palpatine. When McDiarmid asked him what he was doing there, Shaw responded, "I don't know, dear boy, I think it's something to do with science-fiction."[19] His presence during the filming was kept secret from all but the minimum cast and crew, and Shaw was contractually obliged not to discuss any film secrets with anyone, even his family. The unmasking scene, directed by Richard Marquand, was filmed in one day and required only a few takes, with no alteration from the original dialogue.[7] When the film was re-released on DVD in 2004, a few changes were made: the unmasking scene with Hamill remained mostly the same, but Shaw's eyebrows were digitally removed to tie in with the injuries Anakin Skywalker suffers at the end of Revenge of the Sith. Shaw's eyes were also digitally coloured to look like those of Hayden Christensen, the actor who played Anakin in Attack of the Clones and Revenge of the Sith.
Star Wars creator George Lucas personally directed Shaw for his appearance in the final scene of the film, in which he is a Force Ghost of Anakin.[7] Shaw's image in this scene was replaced with that of Christensen in the 2004 release. This last attempt to tie the prequel and original trilogies together proved to be possibly the most controversial change in the Star Wars re-releases.[20][21]
Although Shaw's unmasking scene lasted only two minutes and seven seconds and included just 24 words of dialogue spoken by Shaw,[22] he received more fan mail and autograph requests from Return of the Jedi than he had for any role in the rest of his career. He later reflected that he very much enjoyed his experience filming for Return of the Jedi and expressed particular surprise that an action figure was made of him from the film.[7]
Later career and death[edit]
Shaw remained active in his later years; along with fellow Royal Shakespeare Company actors Ian Richardson, John Nettles, Martin Best and Ann Firbank, he engaged in discussions and workshops with acting teachers and students in the early 1980s.[4][23] Although appearances in films became far less common in his later career, he received much acclaim for his performance as the Cold War spy Sharp in Clare Peploe's High Season at the New York Film Festival in 1987;[3] The San Diego Union-Tribune said Shaw played the role with "endearing, sweet gravity".[24] One of his last performances was in the Christmas season of 1988 and 1989, when he played the wizard in a stage production of The Wizard of Oz at the Barbican Centre. The Times said audiences were "delighted to recognise his honeyed threats from behind the great carapace that disguised the Wizard of Oz".[3] Shaw became an honorary life-member at the Garrick Club, which included such past members as writers Charles Dickens, J.M. Barrie, Kingsley Amis and A.A. Milne; artists Dante Gabriel Rossetti and John Everett Millais; and composer Edward Elgar.[3]
Shaw died of natural causes on 23 December 1994 at age 89 in Brighton, Sussex, England.[1] A memorial service was held 15 February 1995 at St Paul's, Covent Garden, commonly known as the Actors' Church due to its long association with the theatre community. Actors Ian Richardson and Ben Kingsley read works by William Shakespeare, stage actress Estelle Kohler read How Do I Love Thee? by Victorian poet Elizabeth Barrett Browning, actress Sheila Allen read Life by Welsh poet George Herbert and actor Kenneth Branagh read from the works of Canon Henry Scott Holland. One of Shaw's own poems, Gemini, was also read. Baritone Stephen Varcoe sang Wie bist du meine Königin by Johannes Brahms, accompanied by Graham Johnson on the piano, and guitarist Martin Best performed and sang his composition of Ariel's Songs from The Tempest. Shaw was survived by his partner Joan Ingpen, daughter Drusilla MacLeod, sisters Susan Bonner-Morgan and Penelope Harness, and sister-in-law Olga Young.[6]
TV and filmography[edit]
Year
Title
Role
Notes
1930 Caste Hon. George d'Alroy
1933 Little Miss Nobody Pat Carey
1933 House of Dreams Unknown
1933 Taxi to Paradise Tom Fanshawe
1934 The Way of Youth Alan Marmon
1934 The Four Masked Men Arthur Phillips
1934 Get Your Man Robert Halbean
1934 Adventure Ltd. Bruce Blandford
1935 Brewster's Millions Frank
1935 The Lad Jimmy
1935 The Ace of Spades Trent
1935 Three Witnesses Roger Truscott
1935 Jubilee Window Peter Ward
1935 Department Store John Goodman Johnson
1936 Tomorrow We Live Eric Morton
1936 Birds of a Feather Jack Wortle
1936 Jury's Evidence Philip
1936 Men Are Not Gods Edmund Davey
1937 Farewell Again Capt. Gilbert Reed
1937 The Squeaker Frank Sutton
1938 Julius Caesar Marcus Brutus
1939 Too Dangerous to Live Jacques Leclerc
1939 Prison Without Bars Doctor
1939 Table d'Hote Adam "Doubting Hall" section
1939 The Spy in Black Lieutenant Ashington
Commander David Blacklock
1940 Now You're Talking Charles Hampton
1940 Three Silent Men Sir James Quentin
1940 Bulldog Sees It Through Derek Sinclair
1940 The Flying Squad Inspector Bradley
1941 East of Piccadilly Tamsie Green
1945 Journey Together Squadron Leader Marshall
1947 Hamlet Claudius
1949 The Glass Mountain Bruce McLeod
1949 Landfall Wing Commander Dickens
1952 BBC Sunday Night Theatre Archdeacon Adam Brandon Episode: "The Cathedral"
1953 Laxdale Hall Hugh Marvell, MP
1958 Armchair Theatre Unknown Episode: "The Terrorist"
1960 Here Lies Miss Sabry James "Cracker" Talbot
1966 It Happened Here Dr. Richard Fletcher
1966 Out of the Unknown Major Gregory Episode: "Walk's End"
1968 All's Well That Ends Well King of France
1968 A Midsummer Night's Dream Quince
1972 Thirty-Minute Theatre Judge Episode: "The Judge's Wife"
1972 Dead of Night Powys Jubb Episode: "Death Cancels All Debts"
1975 Village Hall Ralph Episode: "Lot 23"
1977 Play for Today Abbot General Episode: "A Choice of Evils"
1978 BBC2 Play of the Week Unknown Episode: "Liza"
1979 Rumpole of the Bailey Mr. Justice Skelton Episode: "Rumpole and the Show Folk"
1979 The Old Curiosity Shop Grandfather
1981 Nanny Mr. Starkie Episode: "Goats and Tigers"
1981 Timon of Athens Old Athenian
1983 Reilly: Ace of Spies Reverend Thomas Episode: "An Affair with a Married Woman"
1983 The Weather in the Streets Mr. Curtis
1983 Return of the Jedi Anakin Skywalker Also appears as Skywalker's ghost in original release and 1997 Special Edition
1983 The Nation's Health Dr. Thurson Episodes: "Collapse" and "Decline"
1984 Crown Court Justice Bewes Episodes: "There Was an Old Woman" and "Drunk, Who Cares"
1987 High Season Sharp
1988 The Master Builder Knut Brovik
1988 Casualty Charles Howlett Episode: "Drake's Drum"
1989 Chelworth Lord Toller
1991 Chernobyl: The Final Warning Grandpa
1991 Chimera Dr. Liawski
References[edit]
^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v w x "Sebastian Shaw Obituary," the Daily Telegraph, 2 January 1995.
^ Jump up to: a b c d e f g h i j k l Leech, Richard. "Better Than Beefcake: Sebastian Shaw," The Guardian, 29 December 1994, Features (section), pg. T12.
^ Jump up to: a b c d e f g h i j k l m n "Sebastian Shaw," The Times, 30 December 1994, Features (section).
^ Jump up to: a b c d Kernan, Michael. "Sebastian Shaw & the Shades of the Bard" The Washington Post, 1 March 1980, Style (section), pg. B2.
^ Jump up to: a b c d e Seaton, Ray. "Mr. Shaw's Voyage of Discovery," Express and Star, 29 April 1974.
^ Jump up to: a b c "IN MEMORIAM Mr. Sebastian Shaw," The Daily Telegraph, 15 February 1995.
^ Jump up to: a b c d e f Pirani, Adam. "Sebastian Shaw: The Return of Anakin Skywalker," Starlog, July 1987, Vol. 11, Iss. 120, pg. 56–57,+96.
Jump up ^ "No. 35171". The London Gazette. 23 May 1941. p. 2952.
Jump up ^ "No. 35391". The London Gazette. 23 December 1941. p. 7255.
Jump up ^ "No. 35606". The London Gazette. 23 June 1942. p. 2767.
Jump up ^ "No. 36618". The London Gazette (Supplement). 18 July 1944. pp. 3402–3403.
Jump up ^ "No. 40271". The London Gazette (Supplement). 3 September 1954. pp. 5138–5140.
^ Jump up to: a b c d e f Benedick, Adan. "Sebastian Shaw," The Independent, 13 February 1995 Gazette (section), pg. 12.
Jump up ^ "Classified Advertising: Theatre". The Times. London (50803): 10. 3 July 1947.
Jump up ^ Sutcliffe, Tom. "Obituary: Joan Ingpen, Inspirational artistic organiser at Covent Garden, Paris Opera and the New York Met," Archived 6 March 2016 at the Wayback Machine. the Guardian, 14 January 2008, Obituaries Pages (section), pg. 34.
Jump up ^ Peel, John and Ravenscroft, Sheila (2007). Margrave of the Marches, Chicago: Chicago Review Press, pg. 87–89. ISBN 978-1-55652-652-7.
Jump up ^ Shaw, Sebastian (1969). Poems – Sebastian Shaw, Exeter: University of Exeter. ISBN n/a.
Jump up ^ Shaw, Sebastian (1975). The Christening, London: W.H. Allen Ltd. ISBN 978-0-491-01823-4.
Jump up ^ Chernoff, Scott. "Ian McDiarmid: An Interview with the Emperor." Star Wars Insider, iss. 37, April/May 1998, pg. 33.
Jump up ^ Johnson, Derek. "Star Wars fans, DVD, and cultural ownership: an interview with Will Brooker; Interview," Velvet Light Trap, 22 September 2005, pg. 36–44.
Jump up ^ Ebert, Roger. "Anakin's fans strike back," Chicago Sun-Times, 1 May 2005, Sunday Showcase (section), pg. 3.
Jump up ^ Return of the Jedi (1983), written by George Lucas and Lawrence Kasdan, directed by Richard Marquand.
Jump up ^ Lardner, James. "Theatre Notes" The Washington Post, 28 February 1980, Style (section), pg. D9.
Jump up ^ Elliott, David. "Paradise found in witty, sensual 'High Tension'," The San Diego Union-Tribune, 6 July 1988, Lifestyle (section), pg. D-1.
External links[edit]
Biography portal
Sebastian Shaw on IMDb
Sebastian Shaw at AllMovie
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LCCN: no91017519
ISNI: 0000 0001 1664 8141
GND: 106205430X
SUDOC: 178278696
BNF: cb16602730c (data)
BNE: XX4441445
Retrieved from "https://en.wikipedia.org/w/index.php?title=Sebastian_Shaw_(actor)&oldid=826288847"
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2 Fast 2 Furious (soundtrack)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
2 Fast 2 Furious (soundtrack)
Soundtrack album by Various Artists
Released
May 27, 2003
Recorded
2002–2003
Genre
Hip hop, R&B
Label
Def Jam South, DTP
Producer
R. Kelly
Cool & Dre
Keith Mack
Just Blaze
Ludacris (exec.)
The Fast and the Furious soundtrack chronology
More Fast and Furious
(2001) 2 Fast 2 Furious (soundtrack)
(2003) The Fast and the Furious: Tokyo Drift (soundtrack)
(2006)
Singles from 2 Fast 2 Furious (soundtrack)
"Act a Fool"
Released: May 20, 2003
"Pump It Up"
Released: May 8, 2003
"Hell Yeah (*)"
Released: March 30, 2004
2 Fast 2 Furious is the soundtrack for the movie 2 Fast 2 Furious. It was originally released on May 27, 2003, on Disturbing tha Peace and Def Jam South/IDJMG.[1] As of 2003 the album has been certified as Gold by the RIAA.
Professional ratings
Review scores
Source
Rating
AllMusic [2]
RapReviews [3]
Contents
[hide]
1 Track listing
2 Bonus tracks
3 Chart performance
4 References
Track listing[edit]
No.
Title
Performer(s)
Length
1. "Start (Intro)" Ludacris 0:09
2. "Act a Fool" Ludacris 4:30
3. "Represent" Trick Daddy 3:38
4. "Slum" (*) I-20 featuring Shawnna and 2 Chainz 3:06
5. "Pick Up the Phone" Tyrese and Ludacris featuring R. Kelly 4:53
6. "Hands in the Air" 8Ball 4:12
7. "Gettin' It" (*) Chingy 4:19
8. "Block Reincarnated" Shawnna featuring Kardinal Offishall 4:18
9. "Pump It Up" Joe Budden 4:11
10. "Hell Yeah" (*) Dead Prez 4:32
11. "Peel Off" Jin 4:09
12. "We Ridin'" (*) Fat Joe 3:01
13. "Rollin on 20's" Lil' Flip 4:09
14. "Fuck What a Nigga Say..." (*) Dirtbag 3:16
15. "Oye" Pitbull 4:02
16. "Miami" K'Jon 4:18
17. "Finish (Outro)" Ludacris 0:10
[show]German bonus tracks[4]
No.
Title
Performer(s)
Length
18. "Remember" Cronite 4:26
19. "Get Dirty" DJ Desue featuring A.G. and Party Arty 2:53
[show]Japanese bonus tracks[5]
No.
Title
Performer(s)
Length
18. "Cruisin'" Sphere of Influence 4:39
(*) indicates tracks which did not appear in the film
Bonus tracks[edit]
On June 23, 2003, an alternate version of the album was released with two additional bonus tracks, "Remember" and "Get Dirty".[6] On October 21, 2003, a further version was released with a single bonus song, "Comin' Up" by Saukrates.[7]
Chart performance[edit]
Chart (2003)
Peak
position
Australian Albums (ARIA)[8]
25
Austrian Albums (Ö3 Austria)[9]
22
Belgian Albums (Ultratop Wallonia)[10]
50
French Albums (SNEP)[11]
57
German Albums (Offizielle Top 100)[12]
11
New Zealand Albums (RMNZ)[13]
18
Swiss Albums (Schweizer Hitparade)[14]
26
US Billboard 200[15]
5
US Top Soundtracks[16]
1
US Top R&B/Hip-Hop Albums[17]
1
References[edit]
Jump up ^ Allmusic.com – 2 Fast 2 Furious – Overview
Jump up ^ https://www.allmusic.com/album/r641151
Jump up ^ RapReviews.com Feature for May 27, 2003 – "2 Fast 2 Furious Soundtrack"
Jump up ^ "Various - 2 Fast 2 Furious (CD, Soundtrack, Europe) at Discogs". Discogs. Retrieved April 14, 2015.
Jump up ^ "Various - 2 Fast 2 Furious (CD, Soundtrack, Japan) at Discogs". Discogs. Retrieved April 14, 2015.
Jump up ^ Allmusic.com – 2 Fast 2 Furious (Bonus Tracks) – Overview
Jump up ^ Allmusic.com – 2 Fast 2 Furious (Bonus Track) – Overview
Jump up ^ "Australiancharts.com – Soundtrack – The Fast and the Furious". Hung Medien. Retrieved April 13, 2015.
Jump up ^ "Austriancharts.at – Soundtrack – 2 Fast 2 Furious" (in German). Hung Medien. Retrieved April 13, 2015.
Jump up ^ "Ultratop.be – Soundtrack – 2 Fast 2 Furious" (in French). Hung Medien. Retrieved April 13, 2015.
Jump up ^ "Lescharts.com – Soundtrack – 2 Fast 2 Furious". Hung Medien. Retrieved April 13, 2015.
Jump up ^ "Officialcharts.de – Soundtrack – 2 Fast 2 Furious". GfK Entertainment Charts. Retrieved April 13, 2015.
Jump up ^ "Charts.org.nz – Soundtrack – 2 Fast 2 Furious". Hung Medien. Retrieved April 13, 2015.
Jump up ^ "Swisscharts.com – Soundtrack – 2 Fast 2 Furious". Hung Medien. Retrieved April 13, 2015.
Jump up ^ Billboard. "Top music Charts – The Billboard 200". Billboard. Archived from the original on February 21, 2009. Retrieved February 18, 2009.
Jump up ^ Billboard. "Top Music Charts – Top Soundtracks". Billboard. Archived from the original on February 21, 2009. Retrieved February 18, 2009.
Jump up ^ Billboard. "Top Music Charts – Top R&B/Hip-Hop Albums". Billboard. Archived from the original on February 21, 2009. Retrieved February 18, 2009.
[show]
v
t
e
The Fast and the Furious
Films
The Fast and the Furious
album
2nd album
2 Fast 2 Furious
album
The Fast and the Furious: Tokyo Drift
Fast & Furious
album
score
Fast Five
album
score
Fast & Furious 6
album
Furious 7
album
score
The Fate of the Furious
album
score
Characters
Dominic Toretto
Brian O'Conner
Letty Ortiz
Han Lue
Gisele Yashar
Short films
The Turbo Charged Prelude for 2 Fast 2 Furious
Los Bandoleros
Video games
The Fast and the Furious (arcade)
The Fast and the Furious (PS2/PSP)
Fast & Furious: Showdown
Forza Horizon 2 Presents Fast & Furious
Attractions
Fast & Furious: Supercharged
Related
"Act a Fool"
"See You Again"
video
"Gang Up"
Category
Retrieved from "https://en.wikipedia.org/w/index.php?title=2_Fast_2_Furious_(soundtrack)&oldid=812440484"
Categories:
Film soundtracks
The Fast and the Furious albums
Albums produced by R. Kelly
Albums produced by Just Blaze
Albums produced by Cool & Dre
Albums produced by Jim Jonsin
Hip hop soundtracks
2003 soundtracks
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Disturbing tha Peace soundtracks
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text:
Donnie Darko (soundtrack)
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Donnie Darko
Soundtrack album by Michael Andrews
Released
April 2, 2002
Recorded
October–December 2000
Genre
Ambient, Soundtrack
Length
37:21
Language
English
Label
Enjoy Records
Everloving Records
Singles from Donnie Darko
"Mad World"
Released: 15 December 2003
The Donnie Darko soundtrack was created by Michael Andrews and released in 2002. It consisted of 16 instrumental tracks and two covers of "Mad World" by Tears for Fears.
Contents
[hide]
1 Production
2 Release
3 Track listing
4 2004 British re-release
4.1 Disc two
5 Personnel
6 References
Production[edit]
Richard Kelly commissioned Michael Andrews, a San Diego musician and television and film composer who had worked as a member of a range of bands, including The Origin with Gary Jules, whose two solo albums he had produced, and The Greyboy Allstars. Kelly said that he was confident that Michael Andrews could do the job: "I met with Michael and I just knew right away that he was really, really talented and that he could come up with a really original score. He would allow me to be in there and be really kind of editorial with how I wanted the score to be."[1]
Michael Andrews relocated to Los Angeles to work on the film between October and December 2000. As Michael Andrews states, the low budget for the project encouraged him to play a diverse range of instruments for the soundtrack:
"The film was pretty low budget so my portion of the money was pretty thin. I couldn't hire anyone, it was just me. I played everything; piano, mellotron, mini marimba, xylophone, ukulele, organ. I also brought in two female vocalists Sam Shelton and Tori Haberman. But no guitar because Richard said no guitar or drums; he just wasn't into it. I was down with that - I've played guitar my whole life."[2]
Like many of his role models for soundtrack composing such as John Barry and Ennio Morricone, Michael Andrews wanted to put a song on his otherwise instrumental score.[citation needed] clause. He eventually chose "Mad World" (1982) by Tears for Fears, who were one of his and childhood friend Gary Jules' favourite bands while growing up. Andrews enlisted Jules to sing the song, while Andrews himself played the piano. Other songs featured in the film include "The Killing Moon" by Echo & the Bunnymen (another of Andrews' and Jules' favourite bands), Joy Division's "Love Will Tear Us Apart", The Church's "Under the Milky Way" in the party scene, and "Proud to Be Loud" by the band Pantera.
Andrews' style of composing owes much to the ground-breaking Symphony No. 3 (Symphony of Sorrowful Songs) by Henryk Górecki, to which Cherita mimes on stage. An excerpt of "For Whom the Bell Tolls", as composed by Steve Baker and Carmen Daye, starts the credit sequence at the end of the film. This music was however not included in the album-version of the soundtrack.
In the subsequent director's cut, a number of musical choices are changed. In the film's opening, "The Killing Moon" by Echo & the Bunnymen is replaced by "Never Tear Us Apart" by INXS.[3] "The Killing Moon" later replaces "Under the Milky Way" by The Church during the party scene. "Under The Milky Way" can be heard in the car scene with Donnie and his father, played on the radio. Many of these tracks were originally meant to be on the soundtrack, but could not be obtained for licensing reasons.
Release[edit]
Professional ratings
Review scores
Source
Rating
AllMusic [4]
The score was not put on a soundtrack album until Andy Factor, a friend of Michael Andrews, released it on his Everloving Records independent label in 2002. As Donnie Darko was not a hit at first, there was little interest in the soundtrack in the United States. However, the film enjoyed more popularity in Europe especially in the UK where its total box office was greater than for the whole of the U.S., and so the Donnie Darko soundtrack album was released.
This sparked interest in the soundtrack and in the song "Mad World", taken from the original soundtrack, which was a 2003 Christmas Number One in the UK singles chart. It has also made the charts in a number of other countries including Ireland, Denmark, the Netherlands and Australia in 2003 and 2004.
Madonna sampled the song "Manipulated Living" for the video introduction on her 2008/2009 Sticky & Sweet Tour.
Track listing[edit]
All songs were written and performed by Michael Andrews except "Mad World", "Head Over Heels" and "The Killing Moon".
"Carpathian Ridge" – 1:35
"The Tangent Universe" – 1:50
"The Artifact and Living" – 2:30
"Middlesex Times" – 1:41
"Manipulated Living" – 2:08
"Philosophy of Time Travel" – 2:02
"Liquid Spear Waltz" – 1:32
"Gretchen Ross" – 0:51
"Burn It to the Ground" – 1:58
"Slipping Away" – 1:17
"Rosie Darko" – 1:25
"Cellar Door" – 1:03
"Ensurance Trap" – 3:11
"Waltz in the 4th Dimension" – 2:46
"Time Travel" – 3:01
"Did You Know Him?" – 1:46
"Mad World" – 3:08
"Mad World" (alternate mix) – 3:37
"Head Over Heels" by Tears For Fears – 2:36
"The Killing Moon" by Echo & the Bunnymen – 3:16
2004 British re-release[edit]
Coinciding with the release of the film's director's cut, an expanded two-disc edition of the album was released in the United Kingdom in 2004. This edition included the 1980s pop and alternative rock songs from the theatrical edition and the director's cut.
"Never Tear Us Apart" by INXS – 3:04
"Head Over Heels" by Tears for Fears – 4:16
"Under the Milky Way" by The Church – 4:58
"Lucid Memory" by Sam Bauer and Gerard Bauer – 0:46
"Lucid Assembly" by Gerard Bauer and Mike Bauer – 0:52
"Ave Maria" by Vladimir Vavilov and Paul Pritchard – 2:57
"For Whom the Bell Tolls" by Steve Baker and Carmen Daye – 3:12
"Show Me (Part 1)" by Quito Colayco and Tony Hertz – 2:05
"Notorious" by Duran Duran – 4:00
"Stay" by Oingo Boingo – 3:38
"Love Will Tear Us Apart" by Joy Division – 3:23
"The Killing Moon" by Echo & the Bunnymen – 5:55
Disc two[edit]
The second disc is devoted to a remastered version of composer Michael Andrews's score.
Personnel[edit]
Michael Andrews – performer
Todd Burke – engineer, mixing
Shannon Erbe – music editor
Gary Jules – vocals
Richard Kelly – liner notes
Mike King – package design
Roger Seibel – mastering
Sam Shelton – backing vocals
References[edit]
Jump up ^ [1]
Jump up ^ [2]
Jump up ^ Day, Matt (10 August 2004). "Donnie Darko: Director's Cut". The Digital Fix.
Jump up ^ Monger, James Christopher. Album review at AllMusic. Retrieved 11 July 2011.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Donnie_Darko_(soundtrack)&oldid=841469563"
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