A desert is a landscape or region that receives an extremely low amount of precipitation, less than enough to support growth of most plants. Most deserts have an average annual precipitation of less than . A common definition distinguishes between true deserts, which receive less than of average annual precipitation, and semideserts or steppes, which receive between and . Deserts can also be described as areas where more water is lost by evapotranspiration than falls as precipitation. In the Köppen climate classification system, deserts are classed as ''BWh'' (hot desert) or ''BWk'' (temperate desert). In the Thornthwaite climate classification system, deserts would be classified as arid megathermal climates.

Geography

Deserts are part of a wide classification of regions that, on an average annual basis, have a moisture deficit (i.e. they can potentially lose more than is received). Deserts are located where vegetation cover is sparse to almost nonexistent. Deserts take up about one fifth (20%) of the Earth's land surface. Hot deserts usually have a large diurnal and seasonal temperature range, with high daytime temperatures, and low nighttime temperatures (due to extremely low humidity). In hot deserts the temperature in the daytime can reach 45 °C/113 °F or higher in the summer, and dip to 0 °C/32 °F or lower at nighttime in the winter. Water vapor in the atmosphere acts to trap long wave infrared radiation from the ground, and dry desert air is incapable of blocking sunlight during the day (due to absence of clouds) or trapping heat during the night. Thus, during daylight most of the sun's heat reaches the ground, and as soon as the sun sets the desert cools quickly by radiating its heat into space. Urban areas in deserts lack large (more than 14 °C/25 °F) daily temperature variations, partially due to the urban heat island effect.

Many deserts are formed by rain shadows; mountains blocking the path of precipitation to the desert (on the lee side of the mountain). Deserts are often composed of sand and rocky surfaces. Sand dunes called ergs and stony surfaces called hamada surfaces compose a minority of desert surfaces. Exposures of rocky terrain are typical, and reflect minimal soil development and sparseness of vegetation. The soil is rocky because of the low chemical weathering, and the relative absence of a humus fraction.

Bottomlands may be salt-covered flats. Eolian processes are major factors in shaping desert landscapes. Polar deserts (also seen as "cold deserts") have similar features, except the main form of precipitation is snow rather than rain. Antarctica is the world's largest cold desert (composed of about 98% thick continental ice sheet and 2% barren rock). Some of the barren rock is to be found in the so-called Dry Valleys of Antarctica that almost never get snow, which can have ice-encrusted saline lakes that suggest evaporation far greater than the rare snowfall due to the strong katabatic winds that evaporate even ice.

The largest hot desert is the Sahara in northern Africa, covering 9 million square kilometres and 12 countries.

Deserts sometimes contain valuable mineral deposits that were formed in the arid environment or that were exposed by erosion. Due to extreme and consistent dryness, some deserts are ideal places for natural preservation of artifacts and fossils.

+ The ten largest deserts
! Rank	! Desert	! Area (km²)	! Area (mi²)
1			5,339,573
2			3,320,000+
3			1,003,600+
4	Arabian Desert (Middle East)		900,000
5	Gobi Desert (Asia)		500,000
6	Kalahari Desert (Africa)		360,000
7	Patagonian Desert (South America)		260,000
8			250,000
9	Syrian Desert (Middle East)		200,000
10	Great Basin Desert (North America)		190,000

Etymology

English ''desert'' and its Romance cognates (including Italian and Portuguese ''deserto'', French ''désert'' and Spanish ''desierto'') all come from the ecclesiastical Latin ''dēsertum'' (originally "an abandoned place"), a participle of ''dēserere'', "to abandon." (See desertion.) The correlation between aridity and sparse population is complex and dynamic, varying by culture, era, and technologies; thus the use of the word ''desert'' can cause confusion. In English prior to the 20th century, ''desert'' was often used in the sense of "unpopulated area", without specific reference to aridity; but today the word is most often used in its climate-science sense (an area of low precipitation)—and a desert may be quite heavily populated, with millions of inhabitants. Phrases such as "desert island" and "Great American Desert" in previous centuries did not necessarily imply sand or aridity; their focus was the sparse population. However, the connotation of a hot, parched, and sandy place often influences today's popular interpretation of those phrases.

Classification

In 1961, Peveril Meigs divided desert regions on Earth into three categories according to the amount of precipitation they received. In this now widely accepted system, extremely arid lands have at least 12 consecutive months without rainfall, arid lands have less than 250 mm (10 in) of annual rainfall, and semiarid lands have a mean annual precipitation of between 250 and 500 mm (10–20 in). Arid and extremely arid lands are deserts, and semiarid areas are generally referred to as steppes.

Definition

Measurement of rainfall alone cannot provide an accurate definition of what a desert is because being arid also depends on evaporation, which depends in part on temperature. For example, Phoenix, Arizona receives less than 250 millimeters (10 in) of precipitation per year, and is immediately recognized as being located in a desert due to its arid adapted plants. The North Slope of Alaska's Brooks Range also receives less than 250 millimeters (10 in) of precipitation per year and is often classified as a cold desert. Other regions of the world have cold deserts, including areas of the Himalayas and other high altitude areas in other parts of the world. Polar deserts cover much of the ice free areas of the arctic and Antarctic.

Potential evapotranspiration supplements the measurement of rainfall in providing a scientific measurement-based definition of a desert. The water budget of an area can be calculated using the formula ''P'' − ''PE'' ± ''S'', wherein ''P'' is precipitation, ''PE'' is potential evapotranspiration rates and ''S'' is amount of surface storage of water. Evapotranspiration is the combination of water loss through atmospheric evaporation and through the life processes of plants. Potential evapotranspiration, then, is the amount of water that ''could'' evaporate in any given region. As an example, Tucson, Arizona receives about 300 millimeters (12 in) of rain per year, however about 2500 millimeters (100 in) of water could evaporate over the course of a year. In other words, about 8 times more water could evaporate from the region than actually falls. Rates of evapotranspiration in cold regions such as Alaska are much lower because of the lack of heat to aid in the evaporation process.

There are different forms of deserts. Cold deserts can be covered in snow or ice; frozen water unavailable to plant life. These are more commonly referred to as tundra if a short season of above-freezing temperatures is experienced, or as an ice cap if the temperature remains below freezing year-round, rendering the land almost completely lifeless.

Most non-polar deserts are hot in the day and chilly at night (for the latitude) because of the lack of the moderating effect of water. In some parts of the world, deserts are created by a rain shadow effect in which air masses lose much of their moisture as they move over a mountain range; other areas are arid by virtue of being very far from the nearest available sources of moisture.

Deserts are also classified by their geographical location and dominant weather pattern as trade wind, mid-latitude, rain shadow, coastal, monsoon, or polar deserts. Former desert areas presently in non-arid environments are paleodeserts.

Montane deserts are arid places with a very high altitude; the most prominent example is found north of the Himalayas, especially in Ladakh region of Jammu and Kashmir, in parts of the Kunlun Mountains and the Tibetan Plateau. Many locations within this category have elevations exceeding 3,000 meters (10,000 ft) and the thermal regime can be hemiboreal. These places owe their profound aridity (the average annual precipitation is often less than 40 mm or 1.5 in) to being very far from the nearest available sources of moisture. Montane deserts are normally cold.

Rain shadow deserts form when tall mountain ranges block clouds from reaching areas in the direction the wind is going. As the air moves over the mountains, it cools and moisture condenses, causing precipitation on the windward side. When that air reaches the leeward side, it is dry because it has lost the majority of its moisture, resulting in a desert. The air then warms, expands, and blows across the desert. The warm, desiccated air takes with it any remaining moisture in the desert.

Desert features

Sand covers only about 20% of Earth's deserts. Most of the sand is in sand sheets and sand seas—vast regions of undulating dunes resembling ocean waves "frozen" in an instant of time. In general, there are five forms of deserts:

Mountain and basin deserts

Hamada deserts, which consist of plateau landforms

Regs, which consist of rock pavements

Ergs, which are formed by sand seas

Intermontane Basins

Nearly all desert surfaces are plains where eolian deflation—removal of fine-grained material by the wind—has exposed loose gravels consisting predominantly of pebbles but with occasional cobbles.

The remaining surfaces of arid lands are composed of exposed bedrock outcrops, desert soils, and fluvial deposits including alluvial fans, playas, desert lakes, and oases. Bedrock outcrops occur as small mountains surrounded by extensive erosional plains.

Several different types of dunes exist. Barchan dunes are produced by strong winds blowing across a level surface and are crescent-shaped. Longitudinal or seif dunes are dunes that are parallel to a strong wind that blows in one general direction. Transverse dunes run at a right angle to the constant wind direction. Star dunes are star-shaped and have several ridges that spread out around a point.

Oases are vegetated areas moistened by springs, wells, or by irrigation. Many are artificial. Oases are often the only places in deserts that support crops and permanent habitation.

Fauna and flora

Deserts have a reputation for supporting very little life, but in reality deserts often have high biodiversity, including animals that remain hidden during daylight hours to control body temperature or to limit moisture needs. Some fauna includes the kangaroo rat, coyote, jack rabbit, and many lizards. These animals adapted to live in deserts are called xerocoles. Many desert animals (and plants) show especially clear evolutionary adaptations for water conservation or heat tolerance, and so are often studied in comparative physiology, ecophysiology, and evolutionary physiology. One well-studied example is the specializations of mammalian kidneys shown by desert-inhabiting species. Many examples of convergent evolution have been identified in desert organisms, including between cacti and Euphorbia, kangaroo rats and jerboas, ''Phrynosoma'' and ''Moloch'' lizards.

Some flora includes shrubs, Prickly Pears, Desert Holly, and the Brittlebush. Most desert plants are drought- or salt-tolerant, such as xerophytes. Some store water in their leaves, roots, and stems. Other desert plants have long taproots that penetrate to the water table if present, or have adapted to the weather by having wide-spreading roots to absorb water from a greater area of the ground. Another adaptation is the development of small, spiny leaves which shed less moisture than deciduous leaves with greater surface areas. The stems and leaves of some plants lower the surface velocity of sand-carrying winds and protect the ground from erosion. Even small fungi and microscopic plant organisms found on the soil surface (so-called ''cryptobiotic soil'') can be a vital link in preventing erosion and providing support for other living organisms.

Deserts typically have a plant cover that is sparse but enormously diverse. The giant saguaro cacti of the Sonoran Desert provide nests for desert birds and serve as "trees" of the desert. Saguaro grow slowly but may live up to 200 years. When 9 years old, they are about 15 centimeters (6 in) high. After about 75 years, the cacti develop their first branches. When fully grown, saguaro cacti are 15 meters (50 ft) tall and weigh as much as 10 tons. They dot the Sonoran and reinforce the general impression of deserts as cactus-rich land.

Although cacti are often thought of as characteristic desert plants, other types of plants have adapted well to the arid environment. They include the pea and sunflower families. Cold deserts have grasses and shrubs as dominant vegetation.

Water

Atacama is the driest place on Earth and is virtually sterile because it is blocked from moisture on both sides by the Andes mountains and by the Chilean Coast Range. The cold Humboldt Current and the anticyclone of the Pacific are essential to keep the dry climate of the Atacama. The average rainfall in the Chilean region of Antofagasta is just 1 mm per year. Some weather stations in the Atacama have never received rain. Evidence suggests that the Atacama may not have had any significant rainfall from 1570 to 1971. It is so arid that mountains that reach as high as 6,885 meters (22,590 feet) are completely free of glaciers and, in the southern part from 25°S to 27°S, may have been glacier-free throughout the Quaternary, though permafrost extends down to an altitude of 4,400 meters and is continuous above 5,600 meters.

Rain ''does'' fall occasionally in deserts, and desert storms are often violent. A record 44 millimeters (1.7 in) of rain once fell within 3 hours in the Sahara. Large Saharan storms may deliver up to 1 millimeter per minute. Normally dry stream channels, called arroyos or wadis, can quickly fill after heavy rains, and flash floods make these channels dangerous.

Though little rain falls in deserts, deserts receive runoff from ephemeral, or short-lived, streams fed considerable quantities of sediment for a day or two. Although most deserts are in basins with closed or interior drainage, a few deserts are crossed by 'exotic' rivers that derive their water from outside the desert. Such rivers infiltrate soils and evaporate large amounts of water on their journeys through the deserts, but their volumes are such that they maintain their continuity. The Nile River, the Colorado River, and the Yellow River are exotic rivers that flow through deserts to deliver their sediments to the sea. Deserts may also have underground springs, rivers, or reservoirs that lie close to the surface, or deep underground. Plants that have not completely adapted to sporadic rainfalls in a desert environment may tap into underground water sources that do not exceed the reach of their root systems.

While deserts are well-known for their lack of water, some groups have adapted ways to find water in this harsh environment. The Bedouin, for example, turn over half-buried stones just before dawn so dew forms on them.

Lakes form where rainfall or meltwater in interior drainage basins is sufficient. Desert lakes are generally shallow, temporary, and salty. Because these lakes are shallow and have a low bottom gradient, wind stress may cause the lake waters to move over many square kilometers. When small lakes dry up, they leave a salt crust or hardpan. The flat area of clay, silt, or sand encrusted with salt that forms is known as a playa or a sink. There are more than a hundred playas in North American deserts. Most are relics of large lakes that existed during the last ice age about 12,000 years ago. Lake Bonneville was a 52,000-square-kilometer (20,000 mi²) lake almost 300 meters (1000 ft) deep in Utah, Nevada, and Idaho during the Ice Age. Today the remnants of Lake Bonneville include Utah's Great Salt Lake, Utah Lake, and Sevier Lake. Because playas are arid landforms from a wetter past, they contain useful clues to climatic change.

When the occasional precipitation does occur, it erodes the desert rocks quickly.

The flat terrains of hardpans and playas make them excellent racetracks and natural runways for airplanes and spacecraft. Ground-vehicle speed records have been established on the flat lakebeds of the Black Rock Desert in Nevada and Bonneville Speedway in Utah. Space shuttles and flight-test aircraft land on Rogers Lake Playa at Edwards Air Force Base in California.

Formation of hot deserts

There are four main, interlinked causes of hot deserts:

The formation of the subtropical high-pressure cell.

The rain shadow effect in the belt of easterly trade winds.

The effect of the cold currents off the west coast of the continents at these latitudes.

The depositing sands of a desert along its border into the fertile land

Hot deserts (like cold deserts) may result in average temperature cooling because they reflect more of the incoming light (their albedo is higher than that of water or forests).

Mineral resources

Deserts may contain great amounts of mineral resources over their entire surface. This occurrence in minerals also determines the color. For example, the red color of many sand deserts is a result of the occurrence of laterite.

Some mineral deposits are formed, improved, or preserved by geologic processes that occur in arid lands as a consequence of climate. Ground water leaches ore minerals and redeposits them in zones near the water table. This leaching process concentrates these minerals as ore that can be mined.

Evaporation in arid lands enriches mineral accumulation in their lakes. Lake beds known as playas may be sources of mineral deposits formed by evaporation. Water evaporating in closed basins precipitates minerals such as gypsum, salts (including sodium nitrate and sodium chloride), and borates. The minerals formed in these evaporite deposits depend on the composition and temperature of the saline waters at the time of deposition.

Significant evaporite resources occur in the Great Basin Desert of the United States, mineral deposits made famous by the "20-mule teams" that once hauled borax-laden wagons from Death Valley to the railroad. Boron, from borax and borate evaporites, is an essential ingredient in the manufacture of glass, enamel, agricultural chemicals, water softeners, and pharmaceuticals. Borates are mined from evaporite deposits at Searles Lake, California, and other desert locations. The total value of chemicals that have been produced from Searles Lake substantially exceeds US$1 billion.

The Atacama Desert of Chile is unique among the deserts of the world in its great abundance of saline minerals. Sodium nitrate has been mined for explosives and fertilizer in the Atacama since the middle of the 19th century. Nearly 3 million metric tons were mined during World War I.

Valuable minerals located in arid lands include copper in the United States, Chile, Peru, and Iran; iron and lead-zinc ore in Australia; and gold, silver, and uranium deposits in Australia and the United States. Nonmetallic mineral resources and rocks such as beryllium, mica, lithium, clays, pumice, and scoria also occur in arid regions. Sodium carbonate, sulfate, borate, nitrate, lithium, bromine, iodine, calcium, and strontium compounds come from sediments and near-surface brines formed by evaporation of inland bodies of water, often during geologically recent times.

The Green River Formation of Colorado, Wyoming, and Utah contains alluvial fan deposits and playa evaporites created in a huge lake whose level fluctuated for millions of years. Economically significant deposits of trona, a major source of sodium compounds, and thick layers of oil shale were created in the arid environment.

Some of the more productive petroleum areas on Earth are found in arid and semiarid regions of Africa and the Mideast, although the oil fields were originally formed in shallow marine environments. Recent climate change has placed these reservoirs in an arid environment. It's noteworthy that Ghawar, the world's largest and most productive oilfield is mostly under the Empty Quarter and Al-Dahna deserts.

Other oil reservoirs, however, are presumed to be eolian in origin and are presently found in humid environments. The Rotliegendes, a hydrocarbon reservoir in the North Sea, is associated with extensive evaporite deposits. Many of the major U.S. hydrocarbon resources may come from eolian sands. Ancient alluvial fan sequences may also be hydrocarbon reservoirs.

Solar energy resources

Deserts are increasingly seen as sources for solar energy. The Negev Desert and the surrounding area, including the Arava Valley, are the sunniest parts of Israel and little of this land is arable, which is why it has become the center of the Israeli solar industry. David Faiman, a world expert on solar energy, feels the energy needs of a country like Israel could be met by building solar energy plants in the Negev. Faiman also feels the technology now exists to supply all of the world's electricity needs with 10% of the Sahara. Solel has nine fields of solar collectors in the Mojave Desert of California. It recently signed a contract to build the Mojave Solar Park, which will be the world's largest solar generating plant.

Human life in deserts

A desert is a hostile, potentially deadly environment for unprepared humans. In hot deserts, high temperatures cause rapid loss of water due to sweating, and the absence of water sources with which to replenish it can result in dehydration and death within a few days. In addition, unprotected humans are also at risk from heatstroke.

Humans may also have to adapt to sandstorms in some deserts, not just in their adverse effects on respiratory systems and eyes, but also in their potentially harmful effects on equipment such as filters, vehicles and communication equipment. Sandstorms can last for hours, sometimes even days. This makes surviving in the desert quite difficult for humans.

Despite this, some cultures have made hot deserts their home for thousands of years, including the Bedouin, Tuareg and Pueblo people. Modern technology, including advanced irrigation systems, desalinization and air conditioning have made deserts much more hospitable. In the United States and Australia for example, desert farming has found extensive use.

In cold deserts, hypothermia and frostbite are the chief hazards, as well as dehydration in the absence of a source of heat to melt ice for drinking. Falling through pack-ice or surface ice layers into freezing water is a particular danger requiring emergency action to prevent rapid hypothermia. Starvation is also a hazard; in low temperatures the body requires much more food energy to maintain body heat and to move. As with hot deserts, some people such as the Inuit have adapted to the harsh conditions of cold deserts.

Most traditional human life in deserts is nomadic. It depends in hot deserts on finding water, and on following infrequent rains to obtain grazing for livestock. In cold deserts, it depends on finding good hunting and fishing grounds, on sheltering from blizzards and winter extremes, and on storing enough food for winter. Permanent settlement in both kinds of deserts requires permanent water and food sources and adequate shelter, or the technology and energy sources to provide it.

Many deserts are flat and featureless, lacking landmarks, or composed of repeating landforms such as sand dunes or the jumbled ice-fields of glaciers. Advanced skills or devices are required to navigate through such landscapes and inexperienced travellers may perish when supplies run out after becoming lost. In addition sandstorms or blizzards may cause disorientation in severely reduced visibility.

The danger represented by wild animals in deserts has been featured in explorers' accounts but does not cause higher rates of death than in other environments such as rain forests or savanna woodland, and generally does not by itself affect human distribution. Defense against polar bears may be advisable in some areas of the Arctic, as may precautions against venomous snakes and scorpions in choosing sites at which to camp in some hot deserts.

See also

Arid Lands Information Network

Aridification

Desert greening

Desertification

International Center for Agricultural Research in the Dry Areas

List of deserts

List of deserts by area (size)

List of North American deserts

Sediment precipitation

References

External links

, a report in the Global Environment Outlook (GEO) series.

Map with biodiversity scenarios for desert areas, from the Global Deserts Outlook.

Finding Water in the Desert - wikiHow page

Category:Ecosystems Category:Geological history of Earth Category:Geomorphology

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Coordinates	41°52′55″N87°37′40″N
name	Émilie Simon
background	solo_singer
born	July 17, 1978
origin	Montpellier, France
genre	Electronic, Trip Hop, Experimental
occupation	Singer, songwriter, composer
years active	2003–present
label	Universal (2003–present)Le Plan Music (US only)
website	http://www.emiliesimonmusic.com }}

Émilie Simon (born 1978 in Montpellier, France) is a French singer and composer of electronic music.

Music

''Émilie Simon''

In May 2003, she released her debut album ''Émilie Simon''. The electronic album was critically acclaimed and went on to become a commercial success. To promote her album, she did numerous live performances and TV appearances all over France. In 2004, she was rewarded with a Victoire de la musique in the 'Electronic Album' category for the album.

Two music videos were made to promote ''Émilie Simon'' for the songs "Désert" and "Flowers". The English version of "Désert" had an identical music video to the French version. ''Émilie Simon'' was also re-released in certain parts of the world with additional tracks. Despite having been released for over three years, the album was still charting in the French mid-price album charts in late January 2007.

More recently, Émilie Simon has begun performing and releasing CDs in the United States. Her first U.S. release, ''The Flower Book'', came out November 2006. The release was followed by a brief tour to New York and Los Angeles. In April 2007 Émilie released her second recording in the United States, ''The March of the Empress'' and a third, The Big Machine, is scheduled to come out in the spring of 2011.

''La Marche de l'Empereur''

Wishing to orient her second album towards a more wintry or polar setting, she proceeded to record sounds which relate to coldness such as the sounds of smashing ice and footsteps in the snow. Coincidentally, in the midst of her search for sounds for the album, she was contacted by producer Luc Jacquet to compose the original soundtrack for his documentary film ''La Marche de l'empereur'' (''March of the Penguins'' in English), concerning the migration of emperor penguins during their annual migration.

The film came out in France at the beginning of 2005, featuring a soundtrack by Emilie Simon that was also released by Universal Music as her second album. In 2006 she won the Victoire de la musique in the “Film Soundtrack” category and was nominated for a César Award for the best film music composition. It should be noted however that the version of ''March of the Penguins'' that was released in the United States and in English Canada used a more traditional documentary soundtrack scored by Alex Wurman, the local producers fearing that the Émilie Simon soundtrack would be too challenging for North American viewers (the only cinemas in North America to screen the film with the Émilie Simon soundtrack were those of the French circuit in the province of Quebec). The Canadian DVD version of the film offers both the French version with Émilie Simons soundtrack and the American version with that of Alex Wurman.

''Végétal'' and international success

In 2006, Émilie Simon released her third album, ''Végétal'', in which she uses the sounds of plants, as hinted by the name. The lyrics play with words, always relating to flora. The album also contains more elements of rock music. This comes forward in some of the more lively tracks, such as "Fleur De Saison", where she plays an electric guitar. The sound remains nonetheless that of electronic music while her voice maintains its candor, softness, and beauty.

A music video has been aired for the first single "Fleur de saison", the second one called "Dame de Lotus" has also been already aired. The album utilizes Opendisc technology which enables access to special content such as songs and music videos on her official website. ''Végétal'' is her only album to have more than one cover image. Currently, three separate covers exist for the album.

In late 2006, she released ''The Flower Book'' in the USA (April 2007 in Canada), a compilation album of her first three records, with some added material from her short international tour which included stops in New York and Los Angeles. She also used MySpace to convey messages to fans. Furthermore, "Désert" was released in vinyl in the US. The track "Rose hybride de thé", originally from ''Végétal'', will officially be the first single release intended for US audiences.

On 5 March 2007, Émilie Simon released her first live album, titled ''À l'Olympia''. The set exists as a sole CD or DVD, and contains live footage from a concert recorded on 19 September 2006. Songs from all of three of her albums are present in the recording.

As a follow-up to Simon’s debut U.S. release, ''The Flower Book'', ''La Marche de l'empereur'' was released 3 April 2007.

Concerts

Her first concert was given at l'Ubu in Rennes, France, where she played before electro singer Avril.

During her stage performances, she performs alongside IRCAM's Cyrille Brissot who directs the program and Medhi Parisot on the guitar.

On 1 July 2005, at the Eurockéennes of Belfort, she gave a live concert with the participation of Synfonietta de Belfort and the Lyon percussion group. She worked with both of these ensembles again in a second concert, 19 January 2006 at Le Grand Rex in Paris. She then toured with Placebo, doing the first part of their tour from 29 September 2006 until the 4 December 2006. She has also done numerous concerts abroad, in Germany, Australia and the U.S..

Discography

Albums

;Studio

''Émilie Simon'' (2003)

''Végétal'' (2006)

''The Big Machine'' (2009)

;Soundtrack

''La Marche de l'Empereur'' (2005)

;Live

''L'Olympia'' (2007)

;Compilation

''The Flower Book'' (2006)

Singles

''Désert'' (2002)

''Flowers'' (2003)

''Song of the Storm'' (2005)

''Fleur de Saison'' (2006)

''Rose hybride de thé'' (2006)

''Dame de lotus'' (2007)

''Dreamland'' (2009)

''Rainbow'' (2009)

EP

''Live Session EP'' (2007) released exclusively on iTunes

Prizes and nominations

Victoires de la musique

2004: Electronic Music/Groove/Dance album of the year for ''Émilie Simon''.

2006: Original Film or Television soundtrack of the year for ''La Marche de l'empereur''.

2007: Electronic/groove/dance album of the year for ''Végétal''

Nominations

At the Prix Constantin in 2003 for the album ''Émilie Simon''.

At the Césars in 2006 for Best Original Soundtrack with ''La Marche de l'empereur''.

External links

Official website

Émilie Simon's YouTube Channel

Émilie Simon at Facebook.

References

Category:French female singers Category:French composers Category:French-language singers Category:1978 births Category:Living people Category:People from Montpellier

de:Émilie Simon el:Εμιλί Σιμόν es:Émilie Simon ext:Émilie Simon fr:Émilie Simon it:Émilie Simon lv:Emīlija Simona hu:Emilie Simon nl:Émilie Simon ja:エミリー・シモン no:Émilie Simon pl:Émilie Simon pt:Émilie Simon ru:Симон, Эмили fi:Émilie Simon sv:Émilie Simon tr:Émilie Simon

Coordinates	41°52′55″N87°37′40″N
name	Sir David Attenborough
birth date	May 08, 1926
birth place	Isleworth, London, England
residence	Richmond, London
nationality	British
alma mater
occupation
title
spouse	Jane Elizabeth Ebsworth Oriel (m. 1950–1997, her death)
children
footnotes	}}

Sir David Frederick Attenborough () OM, CH, CVO, CBE, FRS, FZS, FSA (born 8 May 1926 in London, England) is a broadcaster and naturalist. His career as the respected face and voice of natural history programmes has endured for more than 50 years. He is best known for writing and presenting the nine ''Life'' series, in conjunction with the BBC Natural History Unit, which collectively form a comprehensive survey of all life on the planet. He is also a former senior manager at the BBC, having served as controller of BBC Two and director of programming for BBC Television in the 1960s and 1970s.

He is a younger brother of director, producer and actor Richard Attenborough.

Early life and family

Attenborough grew up in College House on the campus of the University of Leicester, where his father, Frederick, was principal. He is the middle of three sons (his elder brother, Richard, became an actor/film director and his younger brother, John Michael Attenborough, an executive at Alfa Romeo). During World War II his parents also adopted two Jewish refugee girls from Europe.

Attenborough spent his childhood collecting fossils, stones and other natural specimens. He received encouragement in this pursuit at age seven, when a young Jacquetta Hawkes admired his "museum". A few years later, one of his adoptive sisters gave him a piece of amber filled with prehistoric creatures; some 50 years later, it would be the focus of his programme ''The Amber Time Machine''.

Attenborough was educated at Wyggeston Grammar School for Boys in Leicester and then won a scholarship to Clare College, Cambridge in 1945, where he studied geology and zoology and obtained a degree in Natural Sciences. In 1947, he was called up for National Service in the Royal Navy and spent two years stationed in North Wales and the Firth of Forth.

In 1950, Attenborough married Jane Elizabeth Ebsworth Oriel; the marriage lasted until her death in 1997. The couple had two children, Robert and Susan.

His son, Robert Attenborough, is a senior lecturer in Bioanthropology for the School of Archaeology and Anthropology at the Australian National University in Canberra.

First years at BBC

After leaving the Navy, Attenborough took a position editing children's science textbooks for a publishing company. He soon became disillusioned with the work, however, and in 1950, he applied for a job as a radio talks producer with the BBC. Although he was rejected for this job, his CV later attracted the interest of Mary Adams, head of the Talks (factual broadcasting) department of the BBC's fledgling television service. Attenborough, like most Britons at that time, did not own a television, and he had seen only one programme in his life. However, he accepted Adams' offer of a three-month training course, and in 1952, he joined the BBC full time. Initially discouraged from appearing on camera because Adams thought his teeth were too big, he became a producer for the Talks Department, which handled all non-fiction broadcasts. His early projects included the quiz show ''Animal, Vegetable, Mineral?'' and ''Song Hunter'', a series about folk music presented by Alan Lomax.

Attenborough's association with natural history programmes began when he produced and presented the three-part series ''The Pattern of Animals''. The studio-bound programme featured animals from London Zoo, with the naturalist Sir Julian Huxley discussing their use of camouflage, aposematism and courtship displays. Through this programme, Attenborough met Jack Lester, the curator of the zoo's reptile house, and they decided to make a series about an animal-collecting expedition. The result was ''Zoo Quest'', first broadcast in 1954, which Attenborough presented at short notice, due to Lester being taken ill.

In 1957, the BBC Natural History Unit was formally established in Bristol. Attenborough was asked to join it, but declined, not wishing to move from London where he and his young family were settled. Instead he formed his own department, the Travel and Exploration Unit, which allowed him to continue to front the ''Zoo Quest'' programmes as well as produce other documentaries, notably the ''Travellers’ Tales'' and ''Adventure'' series.

In the early 1960s, Attenborough resigned from the permanent staff of the BBC to study for a postgraduate degree in social anthropology at the London School of Economics, interweaving his study with further filming. However, he accepted an invitation to return to the BBC as Controller of BBC Two before he could finish the degree.

BBC administration

Attenborough became the Controller of BBC Two in March 1965, but had a clause inserted in his contract that would allow him to continue making programmes on an occasional basis. Later the same year, he filmed elephants in Tanzania, and in 1969, he made a three-part series on the cultural history of Bali. For the 1971 film ''A Blank on the Map'', he joined the first Western expedition to a remote highland valley in New Guinea to seek out an uncontacted tribe.

BBC Two was launched in 1964, but had struggled to capture the public's imagination. When Attenborough arrived as Controller, he quickly abolished the channel's quirky kangaroo mascot and shook up the schedule. With a mission to make BBC Two's output diverse and different from that offered by other networks, he began to establish a portfolio of programmes that defined the channel's identity for decades to come. Under his tenure, music, the arts, entertainment, archaeology, experimental comedy, travel, drama, sport, business, science and natural history all found a place in the weekly schedules. Often, an eclectic mix was offered within a single evening's viewing. Programmes he commissioned included ''Man Alive'', ''Call My Bluff'', ''Chronicle'', ''Life'', ''One Pair of Eyes'', ''The Old Grey Whistle Test'', ''Monty Python's Flying Circus'' and ''The Money Programme''. When BBC Two became the first British channel to broadcast in colour in 1967, Attenborough took advantage by introducing televised snooker, as well as bringing rugby league to British television on a regular basis via the BBC2 Floodlit Trophy.

One of his most significant decisions was to order a 13-part series on the history of Western art, to show off the quality of the new UHF colour television service that BBC Two offered. Broadcast to universal acclaim in 1969, ''Civilisation'' set the blueprint for landmark authored documentaries, which were informally known as "tombstone" or "sledgehammer" projects. Others followed, including Jacob Bronowski's ''The Ascent of Man'' (also commissioned by Attenborough), and Alistair Cooke's ''America''. Attenborough thought that the story of evolution would be a natural subject for such a series. He shared his idea with Chris Parsons, a producer at the Natural History Unit, who came up with the title ''Life on Earth'' and returned to Bristol to start planning the series. Attenborough harboured a strong desire to present the series himself, but this would not be possible so long as he remained in a management post.

In 1969, Attenborough was promoted to Director of Programmes, making him responsible for the output of both BBC channels. His tasks, which included agreeing budgets, attending board meetings and firing staff, were now far removed from the business of filming programmes. When Attenborough's name was being suggested as a candidate for the position of Director General of the BBC in 1972, he phoned his brother Richard to confess that he had no appetite for the job. Early the following year, he left his post to return to full-time programme making, leaving him free to write and present the planned natural history epic.

Return to broadcasting

After his resignation, Attenborough became a freelance broadcaster and immediately started work on his next project, a pre-arranged trip to Indonesia with a crew from the Natural History Unit. It resulted in the 1973 series ''Eastwards with Attenborough'', which was similar in tone to the earlier ''Zoo Quests'' but without the animal-collecting element.

On his return, he began to work on the scripts for ''Life on Earth''. Due to the scale of his ambition, the BBC decided to partner with an American network to secure the necessary funding. While the negotiations were proceeding he worked on a number of other television projects. He presented a series on tribal art (''The Tribal Eye'', 1975) and another on the voyages of discovery (''The Explorers'', 1975). He also presented a BBC children's series about cryptozoology entitled ''Fabulous Animals'' (1975), which featured mythical creatures such as the griffin and kraken. Eventually, the BBC signed a co-production deal with Turner Broadcasting and ''Life on Earth'' moved into production in 1976.

"Life" series

Beginning with ''Life on Earth'' in 1979, Attenborough set about creating a body of work which became a benchmark of quality in wildlife film-making and influenced a generation of documentary film-makers. The series also established many of the hallmarks of the BBC's natural history output. By treating his subject seriously and researching the latest discoveries, Attenborough and his production team gained the trust of the scientific community, who responded by allowing him to feature their subjects in his programmes. In Rwanda, for example, Attenborough and his crew were granted privileged access to film Dian Fossey's research group of mountain gorillas. Innovation was another factor in ''Life on Earth'''s success: new film-making techniques were devised to get the shots Attenborough wanted, with a focus on events and animals that were hitherto unfilmed. Computerised airline schedules, which had only recently been introduced, enabled the series to be elaborately devised so that Attenborough visited several locations around the globe in each episode, sometimes even changing continents mid-sentence. Although appearing as the on-screen presenter, he consciously restricted his pieces to camera to give his subjects top billing.

The success of ''Life on Earth'' prompted the BBC to consider a follow-up, and five years later, ''The Living Planet'' was screened. This time, Attenborough built his series around the theme of ecology, the adaptations of livings things to their environment. It was another critical and commercial success, generating huge international sales for the BBC. In 1990, ''The Trials of Life'' completed the original "Life" trilogy, looking at animal behaviour through the different stages of life. The series drew strong reactions from the viewing public for its sequences of killer whales hunting sea lions on a Patagonian beach and chimpanzees hunting and violently killing a colobus monkey.

In the 1990s, Attenborough continued to use the "Life" moniker for a succession of authored documentaries. In 1993, he presented ''Life in the Freezer'', the first television series to survey the natural history of Antarctica. Although past normal retirement age, he then embarked on a number of more specialised surveys of the natural world, beginning with plants. They proved a difficult subject for his producers, who had to deliver five hours of television featuring what are essentially immobile objects. The result, ''The Private Life of Plants'' (1995), showed plants as dynamic organisms by using time-lapse photography to speed up their growth.

Prompted by an enthusiastic ornithologist at the BBC Natural History Unit, Attenborough then turned his attention to the animal kingdom and in particular, birds. As he was neither an obsessive twitcher, nor a bird expert, he decided he was better qualified to make ''The Life of Birds'' (1998) on the theme of behaviour. The order of the remaining "Life" series was dictated by developments in camera technology. For ''The Life of Mammals'' (2002), low-light and infrared cameras were deployed to reveal the behaviour of nocturnal mammals. The series contains a number of memorable two shots of Attenborough and his subjects, which included chimpanzees, a blue whale and a grizzly bear. Advances in macro photography made it possible to capture natural behaviour of very small creatures for the first time, and in 2005, ''Life in the Undergrowth'' introduced audiences to the world of invertebrates.

At this point, Attenborough realised that he had spent 20 years unconsciously assembling a collection of programmes on all the major groups of terrestrial animals and plants — only reptiles and amphibians were missing. When ''Life in Cold Blood'' was broadcast in 2008, he had the satisfaction of completing the set, brought together in a DVD encyclopaedia called ''Life on Land''. In an interview that year, Attenborough was asked to sum up his achievement, and responded:

However, in 2010 Attenborough asserted that his forthcoming ''First Life'' — dealing with evolutionary history before ''Life on Earth'' — should also be included within the "Life" series. In the documentary ''Attenborough's Journey'' he stated, "This series, to a degree which I really didn't fully appreciate until I started working on it, really completes the set."

Other documentaries

Alongside the "Life" series, Attenborough has continued to work on other television documentaries, mainly in the natural history genre. He wrote and presented a series on man's influence on the natural history of the Mediterranean basin, ''The First Eden'', in 1987. Two years later, he demonstrated his passion for fossils in ''Lost Worlds Vanished Lives''.

Attenborough narrated every episode of ''Wildlife on One'', a BBC One wildlife series which ran for 253 episodes between 1977 and 2005. At its peak, it drew a weekly audience of eight to ten million, and the 1987 episode "Meerkats United" was voted the best wildlife documentary of all time by BBC viewers. He has also narrated over 50 episodes of ''Natural World'', BBC Two's flagship wildlife series. (Its forerunner, ''The World About Us'', was created by Attenborough in 1969, as a vehicle for colour television.) In 1997, he narrated the ''BBC Wildlife Specials'', each focussing on a charismatic species, and screened to mark the Natural History Unit's 40th anniversary.

As a writer and narrator, he continued to collaborate with the BBC Natural History Unit in the new millennium. Alastair Fothergill, a senior producer with whom Attenborough had worked on ''The Trials of Life'' and ''Life in the Freezer'', was making ''The Blue Planet'' (2001), the Unit's first comprehensive series on marine life. He decided not to use an on-screen presenter due to difficulties in speaking to camera through diving apparatus, but asked Attenborough to narrate the films. The same team reunited for ''Planet Earth'' (2006), the biggest nature documentary ever made for television, and the first BBC wildlife series to be shot in high definition. In 2009, Attenborough wrote and narrated ''Life'', a ten-part series focussing on extraordinary animal behaviour, and narrated ''Nature's Great Events'', which showed how seasonal changes trigger major natural spectacles.

By the turn of the millennium, Attenborough's authored documentaries were adopting a more overtly environmentalist stance. In ''State of the Planet'' (2000), he used the latest scientific evidence and interviews with leading scientists and conservationists to assess the impact of man's activities on the natural world. He later turned to the issues of global warming (''The Truth about Climate Change'', 2006) and human population growth (''How Many People Can Live on Planet Earth?'', 2009). He also contributed a programme which highlighted the plight of endangered species to the BBC's ''Saving Planet Earth'' project in 2007, the 50th anniversary of the Natural History Unit.

Interestingly, although Attenborough's documentaries have attained immense popularity in the United States, several have never been made available on DVD in NTSC format, most notably those that cast doubt upon conservative religious or political positions. These include:

''Life on Earth'', which examines the evidence for evolution.

''State of the Planet''

''The Truth About Climate Change''

''First Life'', which examines the origin of life.

Current projects

Attenborough continues to work into his ninth decade, and is currently involved in a number of projects for the BBC and for Sky.

He is writing and presenting ''Frozen Planet'', a major new series for BBC One which examines the impact of a warming climate on the people and wildlife of the polar regions. He has also recently completed two projects for BBC Two. ''Madagascar'' (which first aired weekly between the 9 to 23 February 2011) a three-part series giving an overview of Madagascar's unique wildlife. The accompanying documentary ''Attenborough and the Giant Egg'' (which first aired on the 2nd of March 2011) features the elephant bird egg which Attenborough discovered on his first filming expedition to the island in the 1960s.

Attenborough is also forging a new partnership with Sky, working on documentaries for the broadcaster's new 3D network, Sky 3D. Their first collaboration is ''Flying Monsters 3D'', a film about pterosaurs which debuted on Christmas Day 2010. A second film, ''Penguin Island 3D'', has also been announced. Both are produced by Atlantic Productions, the company behind Attenborough's 2010 series ''First Life''.

Other work

From 1983, Attenborough worked on two environmentally themed musicals with the WWF and writers Peter Rose and Anne Conlon. ''Yanomamo'' was the first, about the Amazon rainforest, and the second, ''Ocean World'', premiered at the Royal Festival Hall in 1991. They were both narrated by Attenborough on their national tour, and recorded on to audio cassette. ''Ocean World'' was also filmed for Channel 4 and later released.

In 1990, he highlighted the case of Mahjoub Sharif as part of the BBC's ''Prisoners of Conscience'' series.

In January 2009, the BBC commissioned Attenborough to provide a series of 20 ten-minute monologues covering the history of nature. Entitled ''David Attenborough's Life Stories'', they are broadcast on Radio 4 in the Friday night slot vacated by Alistair Cooke's ''Letter from America''. Part of Radio 4's ''A Point of View'' strand, the talks are also available as podcasts.

He appeared in the 2009 Children's Prom at the BBC Promenade Concerts and in the Last Night of the Proms on 12 September 2009, playing a floor polisher in Sir Malcolm Arnold's "A Grand, Grand Overture" (after which he was "shot" by Rory Bremner, who was playing the gun).

Attenborough also serves on the advisory board of ''BBC Wildlife'' magazine.

Achievements, awards and recognition

{| style="float:right; background:#f9f9f9; border:1px solid darkgrey;" |- !align="left"|Styles and honours |- |

Mr David Attenborough (1926–1974)

Mr David Attenborough CBE (1974–1983)

Mr David Attenborough CBE FRS (1983–1985)

Sir David Attenborough CBE FRS (1985–1991)

Sir David Attenborough CVO CBE FRS (1991–1996)

Sir David Attenborough CH CVO CBE FRS (1996–2005)

Sir David Attenborough OM CH CVO CBE FRS (2005–)

|}

Attenborough's contribution to broadcasting and wildlife film-making has brought him international recognition. He has been called "the great communicator, the peerless educator" and "the greatest broadcaster of our time". His programmes are often cited as an example of what public service broadcasting should be, even by critics of the BBC, and has influenced a generation of wildlife film-makers.

Honorary titles

In 2010 it was reported that Attenborough has been given 29 honorary degrees by British universities, more than any other person. In 1980, he was honoured by the Open University, with whom he has had a close association throughout his career. He also has honorary Doctor of Science awards from the University of Cambridge (1984) and the University of Oxford (1988). In 2006, the two eldest Attenborough brothers returned to their home city to receive the title of Distinguished Honorary Fellows of the University of Leicester, "in recognition of a record of continuing distinguished service to the University." David Attenborough was previously awarded an honorary Doctor of Letters degree by the university in 1970, and was made an honorary Freeman of the City of Leicester in 1990.

Attenborough has received the title Honorary Fellow from Clare College, Cambridge (1980), the Zoological Society of London (1998), the Linnean Society (1999), the Institute of Biology (2000) and the Society of Antiquaries (2007).

Recognition

Attenborough has featured as the subject of a number of BBC television programmes. ''Life on Air'' (2002) examined the legacy of his work and ''Attenborough the Controller'' (2002) focused on his time in charge of BBC Two. He also featured prominently in ''The Way We Went Wild'' (2004), a series about natural history television presenters, and ''100 Years of Wildlife Films'' (2007), a special programme marking the centenary of the nature documentary. In 2006, British television viewers were asked to vote for their ''Favourite Attenborough Moments'' for a UKTV poll to coincide with the broadcaster's 80th birthday. The winning clip showed Attenborough observing the mimicry skills of the superb lyrebird.

Attenborough was named as the most trusted celebrity in Britain in a 2006 Reader's Digest poll,. and the following year he won ''The Culture Show'''s Living Icon Award. He has also been named among the 100 Greatest Britons in a 2002 BBC poll and is one of the top ten "Heroes of Our Time" according to ''New Statesman'' magazine.

He has the distinction of having a number of newly-discovered species and fossils being named in his honour. In 1993, after discovering that the Mesozoic reptile ''Plesiosaurus conybeari'' had not, in fact, been a true plesiosaur, the paleontologist Robert Bakker renamed the species ''Attenborosaurus conybeari''. A fossilised armoured fish discovered at the Gogo Formation, Western Australia in 2008 was given the name ''Materpiscis attenboroughi'', after Attenborough had filmed at the site and highlighted its scientific importance in ''Life on Earth''. The ''Materpiscis'' fossil is believed to be the earliest organism capable of internal fertilisation.

He has also lent his name to a species of Ecuadorian flowering tree, ''Blakea attenboroughi'', one of the world's largest carnivorous plants, ''Nepenthes attenboroughii'', and one of only four species of long-beaked echidna, the critically endangered ''Zaglossus attenboroughi'', discovered by explorer and zoologist Tim Flannery in the Cyclops Mountains of New Guinea in 1998.

In September 2009, London's Natural History Museum opened the Attenborough Studio, part of its Darwin Centre development.

Awards

1970: BAFTA Desmond Davis Award

1974: Commander of the Order of the British Empire (CBE)

1980: BAFTA Fellowship

1983: Fellow of the Royal Society (FRS)

1985: Knighthood

1991: Commander of the Royal Victorian Order (CVO) for producing Queen Elizabeth II's Christmas broadcast for a number of years from 1986

1991: Foreign Honorary Member of the American Academy of Arts and Sciences

1996: Companion of Honour (CH) "for services to nature broadcasting"

1998: International Cosmos Prize

2003: Michael Faraday Prize awarded by the Royal Society

2004: Descartes Prize for Outstanding Science Communication Actions

2004: Caird Medal of the National Maritime Museum

2005: Order of Merit (OM)

2005: Nierenberg Prize for Science in the Public Interest

2006: National Television Awards Special Recognition Award

2006: Institute of Ecology and Environmental Management - Institute Medal in recognition of his outstanding contribution to the public perception and understanding of ecology

2006: The Culture Show British Icon Award

2007: British Naturalists' Association Peter Scott Memorial Award

2009: BAFTA Specialist factual award for ''Life In Cold Blood''

2009: Prince of Asturias Award

2010: Fonseca Prize

2010: Queensland Museum Medal

Views and advocacy

Environmental causes

Attenborough's programmes have often included references to the impact of human society on the natural world. The last episode of ''The Living Planet'', for example, focuses almost entirely on humans' destruction of the environment and ways that it could be stopped or reversed. Despite this, he has been criticised for not giving enough prominence to environmental messages. Some environmentalists feel that programmes like Attenborough's give a false picture of idyllic wilderness and do not do enough to acknowledge that such areas are increasingly encroached upon by humans.

However, his closing message from ''State of the Planet'' was forthright:

The future of life on earth depends on our ability to take action. Many individuals are doing what they can, but real success can only come if there's a change in our societies and our economics and in our politics. I've been lucky in my lifetime to see some of the greatest spectacles that the natural world has to offer. Surely we have a responsibility to leave for future generations a planet that is healthy, inhabitable by all species.

Attenborough has subsequently become more vocal in his support of environmental causes. In 2005 and 2006, he backed a BirdLife International project to stop the killing of albatross by longline fishing boats. He gave public support to WWF's campaign to have 220,000 square kilometres of Borneo's rainforest designated a protected area. He also serves as a vice-president of BTCV, vice-president of Fauna and Flora International, president of Butterfly Conservation and president of Leicestershire and Rutland Wildlife Trust. In 2003 he launched an appeal to create a rainforest reserve in Ecuador in memory of Christopher Parsons, the producer of ''Life on Earth'' and a personal friend, who had died the previous year. The same year, he helped to launch ARKive, a global project instigated by Parsons to gather together natural history media into a digital library. ARKive is an initiative of Wildscreen, of which Attenborough is a patron. He later became patron of the World Land Trust, and an active supporter. He supported Glyndebourne in their successful application to obtain planning permission for a wind turbine in an Area of Outstanding Natural Beauty, and gave evidence at the planning inquiry arguing in favour of the proposal.

Attenborough has repeatedly said that he considers human overpopulation to be the root cause of many environmental problems. In ''The Life of Mammals'', he made a plea for humans to curb population growth so that other species will not be crowded out. In 2009, he became a patron of Population Matters, (formerly known as the Optimum Population Trust), a UK charity advocating sustainable human populations.

He has written and spoken publicly about the fact that, despite past scepticism, he believes the Earth's climate is warming in a way that is cause for concern, and that this can likely be attributed to human activity. He summed up his thoughts at the end of his 2006 documentary "Can We Save Planet Earth?" as follows:

In the past, we didn't understand the effect of our actions. Unknowingly, we sowed the wind and now, literally, we are reaping the whirlwind. But we no longer have that excuse: now we do recognise the consequences of our behaviour. Now surely, we must act to reform it — individually and collectively, nationally and internationally — or we doom future generations to catastrophe.

In a 2005 interview with ''BBC Wildlife'' magazine, Attenborough said he considered George W. Bush to be the era's top "environmental villain". In 2007, he further elaborated on the USA's consumption of energy in relation to its population. When asked if he thought America to be "the villain of the piece", he responded:

I don't think whole populations are villainous, but Americans are just extraordinarily unaware of all kinds of things. If you live in the middle of that vast continent, with apparently everything your heart could wish for just because you were born there, then why worry? [...] If people lose knowledge, sympathy and understanding of the natural world, they're going to mistreat it and will not ask their politicians to care for it.

Religion and creationism

In a December 2005 interview with Simon Mayo on BBC Radio Five Live, Attenborough stated that he considers himself an agnostic. When asked whether his observation of the natural world has given him faith in a creator, he generally responds with some version of this story, making reference to the ''Loa loa'' parasitic worm:

My response is that when Creationists talk about God creating every individual species as a separate act, they always instance hummingbirds, or orchids, sunflowers and beautiful things. But I tend to think instead of a parasitic worm that is boring through the eye of a boy sitting on the bank of a river in West Africa, [a worm] that's going to make him blind. And [I ask them], 'Are you telling me that the God you believe in, who you also say is an all-merciful God, who cares for each one of us individually, are you saying that God created this worm that can live in no other way than in an innocent child's eyeball? Because that doesn't seem to me to coincide with a God who's full of mercy'.

He has explained that he feels the evidence all over the planet clearly shows evolution to be the best way to explain the diversity of life, and that "as far as I'm concerned, if there is a supreme being then he chose organic evolution as a way of bringing into existence the natural world."

In a BBC Four interview with Mark Lawson, Attenborough was asked if he at any time had any religious faith. He replied simply, "No." He has also said "It never really occurred to me to believe in God".

In 2002, Attenborough joined an effort by leading clerics and scientists to oppose the inclusion of creationism in the curriculum of UK state-funded independent schools which receive private sponsorship, such as the Emmanuel Schools Foundation. In 2009, Attenborough stated that the Book of Genesis, by saying that the world was there for people to dominate, had taught generations that they can "dominate" the environment, and that this has resulted in the devastation of vast areas of the environment. Attenborough further explained to the science journal ''Nature'', "That's why Darwinism, and the fact of evolution, is of great importance, because it is that attitude which has led to the devastation of so much, and we are in the situation that we are in."

Also in early 2009, the BBC broadcast an Attenborough one-hour special, ''Charles Darwin and the Tree of Life''. In reference to the programme, Attenborough stated that "People write to me that evolution is only a theory. Well, it is not a theory. Evolution is as solid a historical fact as you could conceive. Evidence from every quarter. What is a theory is whether natural selection is the mechanism and the only mechanism. That is a theory. But the historical reality that dinosaurs led to birds and mammals produced whales, that's not theory." He strongly opposes creationism and its offshoot "intelligent design", saying that a survey that found a quarter of science teachers in state schools believe that creationism should be taught alongside evolution in science lessons was "really terrible".

In March 2009, Attenborough appeared on ''Friday Night with Jonathan Ross''. Attenborough stated that he felt evolution did not rule out the existence of a God and accepted the title of agnostic saying, "My view is: I don't know one way or the other but I don't think that evolution is against a belief in God."

BBC and public service broadcasting

Attenborough is a lifelong supporter of the BBC, public broadcasting and the television licence. He has said:

PSB, to me, is not about selecting individual programme strands here or there, financing them from some outside source and then foisting them upon commercial networks. Public Service Broadcasting, watched by a healthy number of viewers, with programmes financed in proportion to their intrinsic needs and not the size of the audience, can only effectively operate as a network — a network whose aim is to cater for the broadest possible range of interests, popular as well as less popular, a network that measures its success not only by its audience size but by the range of its schedule.

Public service broadcasting is one of the things that distinguishes this country and makes me want to live here. I have spent all my life in it. I would be very distressed if public service broadcasting was weakened. I have been at the BBC since 1952, and know the BBC is constantly being battered. It is today.

If you could demonstrate that the BBC was grossly extravagant there might be a case for saying OK take it away. But in fact the BBC per minute in almost every category is as cheap as you can find anywhere in the world and produces the best quality. If you take the money away, which part of the BBC will you remove? The BBC has gone through swingeing staff cuts. It has been cut to the bone, if you divert licence fee money elsewhere, you cut quality and services. There is always that threat from politicians who will say your licence fee is up for grabs. We will take it. There is a lot of people who want to see the BBC weakened. They talk of this terrible tax of the licence fee. Yet it is the best bargain that is going. Four radio channels and god knows how many TV channels. It is piffling.

There have always been politicians or business people who have wanted to cut the BBC back or stop it saying the sort of things it says. There's always been trouble about the licence and if you dropped your guard you could bet our bottom dollar there'd be plenty of people who'd want to take it away. The licence fee is the basis on which the BBC is based and if you destroy it, broadcasting... becomes a wasteland.

Attenborough expressed regret at some of the changes made to the BBC in the 1990s by Director-General John Birt, who introduced an internal market at the corporation, slimmed and even closed some departments and outsourced much of the corporation’s output to private production companies, in line with the Broadcasting Act 1990. He has said:

There is no question but that Birtism . . . has had some terrible results. On the other hand, the BBC had to change. Now it has to produce programmes no one else can do. Otherwise, forget the licence fee.

The Bristol Unit has suffered along with the rest of the BBC from recent staff cuts. Yet it remains confident in the belief that the BBC will maintain it, in spite of the vagaries of fashion, because the Corporation believes that such programmes deserve a place in the schedules of any broadcaster with pretensions of providing a Public Service. In due course, similar specialist Units were also established in London, in order to produce programmes on archaeology and history, on the arts, on music and on science. They too, at one time, had their successes. But they have not survived as well as the Unit in Bristol. The statutory requirement that a certain percentage of programmes must come from independent producers has reduced in-house production and the Units necessarily shrank proportionately in size. As they dwindled, so the critical mass of their production expertise has diminished. The continuity of their archives has been broken, they have lost the close touch they once had worldwide with their subjects and they are no longer regarded internationally as the centres of innovation and expertise that they once were.

When Birt gets up and says the whole of the BBC was a creative mess and it was wasteful, I never saw any evidence of that. I absolutely know it wasn’t so in my time. Producers now spend all their time worrying about money, and the thing has suffered for it.

In 2008, he criticised the BBC’s television schedules:

I have to say that there are moments when I wonder — moments when its two senior networks, first set up as a partnership, schedule simultaneously programmes of identical character, thereby contradicting the very reason that the BBC was given a second network. Then there are times when both BBC One and BBC Two, intoxicated by the sudden popularity of a programme genre, allow that genre to proliferate and run rampant through the schedules. The result is that other kinds of programmes are not placed, simply because of a lack of space. Do we really require so many gardening programmes, make-over programmes or celebrity chefs? Is it not a scandal in this day and age, that there seems to be no place for continuing series of programmes about science or serious music or thoughtful in-depth interviews with people other than politicians?

In 2009, Attenborough commented on the general state of British television, describing the newly introduced product placement on commercial television as something he considered an "appalling" idea 20 years earlier:

I think it's in great trouble. The whole system on which it was built — a limited number of networks, with adequate funding — is under threat. That funding is no longer there. As stations proliferate, so audiences are reduced. The struggle for audiences becomes ever greater, while money diminishes. I think that's a fair recipe for trouble. Inevitably, this has an impact on the BBC … Fortunately, the BBC doesn't think natural history programmes must compete with ''Strictly Come Dancing'' in terms of audience. The BBC says, 'Make proper, responsible natural history programmes.'

Other causes

In May 2005, Attenborough was appointed as patron of the UK's Blood Pressure Association, which provides information and support to people with hypertension.

Attenborough is also an honorary member of BSES Expeditions, a youth development charity that operates challenging scientific research expeditions to remote wilderness environments.

Parodies and artistic portrayals

Attenborough's accent and hushed, excited delivery have been the subject of frequent parodies by comedians, most notably Spike Milligan, Marty Feldman and ''The Goodies''. Attenborough is portrayed by Michael Palin in the final episode of ''Monty Python's Flying Circus'', where he searches the African jungle for the legendary Walking Tree of Dahomey (''Quercus Nicholas Parsonus''), sweating excessively and accompanied by native guides wearing saxophones. David Attenborough has also been parodied in a series of GEICO insurance commercials, showing a nature show host, clearly patterned on Attenborough.

"Time Flies", a sketch by David Ives, features a pair of anthropomorphic mayflies engaging in a courtship ritual, while watching themselves on television in a documentary narrated by David Attenborough.

The character of Nigel Thornberry, a nature documentarian on Nickelodeon's The Wild Thornberrys is strongly influenced by Attenborough.

He has also been parodied by the Australia 1980s sketch show The Comedy Company where Ian McFadyen portrays a character called David Rabbitborough.

The video game ''Discworld'', based on the series of books by Terry Pratchett, parodies his unique delivery to explain different aspects of the Discworld Universe, such as L-Space.

Mythbusters host Adam Savage often imitates Attenborough when speaking about his co-host Jamie Hyneman, which Jamie verified in the YouTube Special Episode.

Filmography

Attenborough is known foremost for writing and presenting the ten ''Life'' series, which are presented in chronological order below:

''Life on Earth'' (1979)

''The Living Planet'' (1984)

''The Trials of Life'' (1990)

''Life in the Freezer'' (1993)

''The Private Life of Plants'' (1995)

''The Life of Birds'' (1998)

''The Life of Mammals'' (2002)

''Life in the Undergrowth'' (2005)

''Life in Cold Blood'' (2008)

''First Life'' (2010)

His voice is synonymous with wildlife documentaries for British audiences, and the principal series with which his narration is associated include:

''Wildlife on One'' (1977–2005)

''BBC Wildlife Specials'' (1995–2008)

''The Blue Planet'' (2001)

''Planet Earth'' (British version) (2006)

''Nature's Great Events'' (2009)

''Life (2009)

''The Frozen Planet'' (2011) (in production)

Books

Bibliography

''Zoo Quest to Guyana'' (Lutterworth Press, 1956)

''Zoo Quest for a Dragon'' (Lutterworth Press, 1957)

* (book club edition with 85 extra pages, ''Quest for the Paradise Birds'', 1959)

''Zoo Quest in Paraguay'' (Lutterworth Press, 1959)

* paperback (Penguin Books, 1982)

''Quest in Paradise'' (1960)

''People of Paradise'' (Harper & Brothers, 1960)

''Zoo Quest to Madagascar'' (1961)

''Quest Under Capricorn'' (1963)

''Fabulous Animals'' (BBC, 1975) ISBN 0-563-17006-9

''The Tribal Eye'' (1976)

''Life on Earth'' (1979)

''Discovering Life on Earth'' (1981)

''Journeys to the past: Travels in New Guinea, Madagascar, and the northern territory of Australia'' (1983) Penguin Books ISBN 0-14-00.64133

''The Living Planet'' (1984)

''The First Eden: The Mediterranean World and Man'' (1987)(Little Brown & Co (T); 1st American ed edition (March 1990))

''The Atlas of the Living World'' (1989)

''The Trials of Life'' (Collins, 1990) ISBN 0-00-219912-2

''The Private Life of Plants'' (BBC Books, 1994) ISBN 0-563-37023-8

''The Life of Birds'' (BBC Books, 1998) ISBN 0-563-38792-0

''The Life of Mammals'' (BBC Books, 2002) ISBN 0-563-53423-0

''Life on Air: Memoirs of a Broadcaster'' (autobiography; 2002) ISBN 0-563-53461-3

* paperback: ISBN 0-563-48780-1

* updated edition: ISBN 9781846076527

''Life in the Undergrowth'' (BBC Books, 2005) ISBN 0-563-52208-9

''Amazing Rare Things - The Art of Natural History in the Age of Discovery'' with Susan Owens, Martin Clayton and Rea Alexandratos (The Royal Collection, 2007) Hardback - ISBN 978-1-902163-46-8; Softback - ISBN 978-1-902163-99-4

''Life in Cold Blood'' (BBC Books, 2007) ISBN 9780563539223

''Life Stories'', (HarperCollins Publishers, 2009) ISBN 9780007338832

''New Life Stories'', (Collins, 2011) ISBN 9780007425129

Introductions

Attenborough has written the introduction or foreword for a number of books, including:

''African Jigsaw: A Musical Entertainment'', Peter Rose and Anne Conlon (published: 1986, Weinberger)

''Tomorrow Is Too Late'', Various (The Macmillan Press, 1990)

''Life in the Freezer: Natural History of the Antarctic'', Alastair Fothergill (BBC Books, 1993), ISBN 0-563-36431-9

''Birds of Paradise: Paradisaeidae'' (Bird Families of the World series) Clifford B. Frith, Bruce M. Beehler, William T. Cooper (Illustrator) (Oxford University Press, 1998) ISBN 0-19-854853-2

''The Blue Planet'', Andrew Byatt, Alastair Fothergill, Martha Holmes (BBC Books, 2001) ISBN 0-563-38498-0.

''Light on the Earth'' (BBC Books, 2005), two decades of winning images from the Wildlife Photographer of the Year competition, ISBN 0-563-52260-7

''Planet Earth'', Alastair Fothergill (BBC Books, 2006), ISBN 0-563-52212-7

Audio recordings

''Tarka the Otter'' by Henry Williamson (available on audiocassette, 1978)

''Yanomamo'' (musical entertainment, 1983) by Peter Rose and Anne Conlon; on-stage narration and published audio recording

''Ocean World'' (musical entertainment, 1990) by Peter Rose and Anne Conlon; on-stage narration (including at The Royal Festival Hall), for audio recording and video broadcast (both published)

''Peter and the Wolf'' for BBC Music Magazine (free CD with the June 2000 issue).

In addition, Attenborough has recorded some of his own works in audiobook form, including ''Life on Earth'', ''Zoo Quest for a Dragon'' and his autobiography ''Life on Air: Memoirs of a Broadcaster''.

References

External links

BBC Books David Attenborough website

BBC ''Life on Air'' website

BBC biography

Wildfilmhistory.org biography

BBC interviews with Attenborough in 1976 and 1998

PBS interview with Attenborough in 1998

A Life in TV: Sir David Attenborough, BAFTA

BBC Wildlife Finder - David Attenborough's favourite moments

Tribute from the World Land Trust

Category:1926 births Category:Living people Category:Alumni of Clare College, Cambridge Category:Alumni of University College London Category:BBC Two controllers Category:Commanders of the Order of the British Empire Category:Commanders of the Royal Victorian Order Category:English agnostics Category:English conservationists Category:English environmentalists Category:English television personalities Category:Fellows of the American Academy of Arts and Sciences Category:Fellows of the Royal Society Category:Fellows of the Society of Antiquaries of London Category:Fellows of the Zoological Society of London Category:Kalinga Prize recipients Category:Knights Bachelor Category:Members of the Linnean Society of London Category:Members of the Order of the Companions of Honour Category:Members of the Order of Merit Category:People associated with the University of Leicester Category:People from Leicester Category:People from London Category:Presenters of the Royal Institution Christmas Lectures Category:British Book Award winners

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