Isatis tinctoria Woad
Woad flowers
Scientific classification
Kingdom:	Plantae
(unranked):	Angiosperms
(unranked):	Eudicots
(unranked):	Rosids
Order:	Brassicales
Family:	Brassicaceae
Genus:	Isatis
Species:	I. tinctoria
Binomial name
Isatis tinctoria L.
Synonyms
Isatis indigotica Fortune

Isatis tinctoria, with Woad ( /ˈwoʊd/; or glastum) as the common name, is a flowering plant in the family Brassicaceae. It is commonly called dyer's woad, and sometimes incorrectly listed as Isatis indigotica (a newer and invalid name for the same plant)^{[citation needed]}. It is occasionally known as Asp of Jerusalem. Woad is also the name of a blue dye produced from the leaves^[2] of the plant.

Woad is native to the steppe and desert zones of the Caucasus, Central Asia to eastern Siberia and Western Asia (Hegi), but is now found in southeastern and some parts of Central Europe as well. Long important as a source of blue dye, it has been cultivated throughout Europe, especially in Western and southern Europe, since ancient times. In medieval times there were important woad growing regions in England, Germany and France, and towns such as Toulouse became prosperous on the woad trade. Woad was eventually replaced by the stronger indigo and then by synthetic indigoes.

History of woad cultivation[link]

Ancient use[link]

The first archaeological finds of woad seeds date to the Neolithic and have been found in the French cave of l'Audoste, Bouches-du-Rhône (France). Named Färberwaid (Isatis tinctoria L.) or German Indigo, of the plant family (Brassicaceae), in the Iron Age settlement of the Heuneburg, Germany, impressions of the seeds have been found on pottery. The Hallstatt burials of Hochdorf and Hohmichele contained textiles dyed with Färberwaid (woad dye).

The Hunt of the Unicorn Tapestry, dyed with weld (yellow), madder (red), and woad (blue).

woad merchant Jean de Bernuy's 16th century mansion in Toulouse

Melo and Rondão write that woad was known "as far back as the time of the ancient Egyptians, who used it to dye the cloth wrappings applied for the mummies."^[3] Skelton informs us that one of the early dyes discovered by the ancient Egyptians was "blue woad (Isatis tinctoria)."^[4] Lucas writes, "What has been assumed to have been Indian Indigo on ancient Egyptian fabrics may have been woad."^[5] Hall states that the ancient Egyptians created their blue dye "by using indigotin, otherwise known as woad."^[6]

Julius Caesar tells us (in De Bello Gallico) that the Britanni used to colour their bodies blue with vitrum, a word that roughly translates to "glass". While many have assumed vitrum refers to woad, and this misconception was probably repeated for political reasons, it is probable that Caesar was describing some form of copper- or iron-based pigment.^{[7][unreliable source?]} The northern inhabitants of Britain came to be known as Picts (Picti), which means "painted ones" in Latin, and may have been due to these accounts of them painting or tattooing their bodies.

The medieval period onwards[link]

Illustration of German woad mill in Thuringia, 1752

Woad was one of the three staples of the European dyeing industry, along with weld (yellow) and madder (red).^[8] Chaucer, mentions them, lamenting their use by the dyer ("litestere") in his poem The Former Age:^[9]

No mader, welde, or wood no litestere.

Ne knew; the flees was of his former hewe

The three can be seen together in tapestries such as The Hunt of the Unicorn (1495–1505), though typically it is the dark blue of the woad that has lasted best.

In Viking age levels at York, a dye shop with remains of both woad and madder dating from the 10th century have been excavated. In Medieval times, centres of woad–cultivation lay in Lincolnshire and Somerset in England, Jülich and the Erfurt area in Thuringia in Germany, Piedmont and Tuscany in Italy, and Gascogne, Normandy, the Somme Basin (from Amiens to Saint-Quentin), Britany and above all Languedoc in France. This last region, in the triangle between Toulouse, Albi and Carcassonne, was for long the most productive of woad, or "pastel" as it was known there, one writer commenting that "woad... hath made that country the happiest and richest in Europe."^[8] The prosperous woad merchants of Toulouse displayed their affluence in splendid mansions, many of which are still standing. One, Jean de Bernuy, a Spanish Jew who had fled the inquisition, was credit-worthy enough to be the main guarantor of the ransomed King Francis I after his capture at the Battle of Pavia by Charles V of Spain.^[8] Much of the woad produced here was used for the cloth industry in southern France,^[10] but it was also exported via Bayonne, Narbonne and Bordeaux to Flanders, the Low Countries, Italy, and above all Britain and Spain.

A major market for woad was at Görlitz in Silesia.^[11] The citizens of the five Thuringian Färberwaid (dye woad) towns of Erfurt, Gotha, Tennstedt, Arnstadt and Langensalza had their own charters. In Erfurt, the woad-traders gave the funds to found the University of Erfurt. Traditional fabric is still printed with woad in Thuringia, Saxony and Lusatia today: it is known as Blaudruck (literally, "blue print(ing)").

Medieval uses of the dye were not limited to textiles. For example, the illustrator of the Lindisfarne Gospels used a woad-based pigment for blue paint.

Woad and indigo[link]

Woad plants in their first year

The dye chemical extracted from woad is indigo, the same dye extracted from "true indigo", Indigofera tinctoria, but in a lower concentration. With the European discovery of the seaway to India, great amounts of indigo were imported. Laws were passed in some parts of Europe to protect the woad industry from the competition of the indigo trade. Indigo was proclaimed to rot the yarns as well. "In 1577 the German government officially prohibited the use of indigo, denouncing it as that pernicious, deceitful and corrosive substance, the Devil's dye."^[12] "... a recess of the Diet held in 1577 prohibited the use of 'the newly-invented, deceitful, eating and corrosive dye called the devil's dye.'" This prohibition was repeated in 1594 and again in 1603.^[13] In France, Henry IV, in an edict of 1609, forbade under pain of death the use of "the false and pernicious Indian drug".^[14]

With the development of a chemical process to synthesize the pigment, both the woad and natural indigo industries collapsed in the first years of the 20th century. The last commercial harvest of woad until recent times occurred in 1932, in Lincolnshire, Britain. Small amounts of woad are now grown in UK and France to supply craft dyers.^[15] The classic book about woad is The Woad Plant and its Dye by J. B. Hurry, Oxford University Press of 1930, which contains an extensive bibliography.^[16]

A method for producing indigo dye from woad is described in the book The History of Woad and the Medieval Woad Vat (1998) ISBN 0-9534133-0-6.^[17]

In Germany, there are attempts to use woad to protect wood against decay without dangerous chemicals. Production is also increasing again in the UK for use in inks, particularly for inkjet printers, and dyes, as woad is biodegradable and safe in the environment, unlike many synthetic inks. The plant's presence has its problem however since Isatis tinctoria is viewed as an invasive species in parts of the United States.

Woad and health[link]

This section needs more medical references for verification. Please review the contents of the section and add the appropriate references if you can. Unsourced or poorly-sourced material may be removed.

Chemicals from woad might be used to prevent cancer, as it can produce high levels of glucobrassicin.^[18][19] Young leaves when damaged can produce more glucobrassicin, up to 65 times as much.^[20]

Indigowoad Root (Chinese: 板藍根; pinyin: bǎn lán gēn) is a traditional Chinese medicine herb that comes from the roots of woad, but often incorrectly listed under the synonymic name, Isatis indigotica. It is also known as Radix isatidis. The herb is cultivated in various regions of northern China, namely Hebei, Beijing, Heilongjiang, Henan, Jiangsu, and Gansu. The roots are harvested during the autumn and dried. The dried root is then processed into granules, which are most commonly consumed dissolved in hot water or tea. The product is very popular throughout China. Possible minor side effects include allergic reactions and dizziness; only large dosages or long term usage can be toxic to the kidneys. Treatments have not generally been evaluated clinically.

Invasive and noxious weed[link]

In certain locations the plant is classified as a non-native and invasive weed. It is listed as a noxious weed by the agriculture departments of several states in the western United States.^[21][22] In Montana, it has been the target of an extensive, and largely successful, eradication attempt.^[23]

References[link]

External links[link]

• Woad.org.uk - All About Woad - Cultivation, Extraction, Dyeing with Woad, History and facts about woad
• Balfour-Paul, Jenny (1998) Indigo. London, British Museum
• The Former Woad Industry
• From woad warriors to cancer-buster - Woad anticancer properties, New Scientist.
• IndigoPage.com: Information, discussion, pictures on artistic uses of indigo dye.
• The preparation of Woad - excerpt from paper by H. O. Clarke and Rex Wailes in Transactions of the Newcomen Society, 1935-36 Vol 16.
• The Problem of the Woad - Use of Woad in Body Art
• USDA information on Isatis tinctoria
• Woad is me: botany page at UCLA
• Data sheet with pictures of woad (in German)
• Wonder Woad - Stories with quintessences on the meaning of the woad

v t e Dyeing Techniques Batik Dyeing Kalamkari Katazome Leheria Mordant Reactive dye printing Resist Ring dyeing Rōketsuzome Shibori Tie-dye Tsutsugaki Types of dyes Dyes Natural Acid Reactive Solvent Substantive Sulfur Vat Disperse Traditional textile dyes Black walnut Bloodroot Brazilin Cochineal Cudbear Cutch Dyewoods Fustic Henna Indigo Kermes Logwood Madder Polish cochineal Saffron Turmeric Tyrian purple Weld Woad History Trade and use of saffron Traditional dyes of the Scottish Highlands Craft dyes Dylon Procion Reference Glossary of dyeing terms List of dyes

Hans Zimmer
Hans Zimmer receiving his star at the Hollywood Walk of Fame (2010)
Background information
Birth name	Hans Florian Zimmer
Born	(1957-09-12) 12 September 1957 (age 54) Frankfurt am Main, Germany
Genres	Film score, Video game score
Occupations	Film composer, Video game composer, Music producer
Instruments	Piano, Keyboard, MIDI Master Keyboard, Synthesizer, Guitar
Years active	1977–present
Labels	Remote Control Productions
Website	hanszimmer.com

Hans Florian Zimmer, German pronunciation: [hans ˈfloːʁi̯aːn ˈtsɪmɐ]; (born 12 September 1957) is a German film composer and music producer. He has composed music for over 100 films, including award winning film scores for The Lion King (1994), Crimson Tide (1995), Gladiator (2000), The Last Samurai (2003),The Dark Knight (2008), and Inception (2010).

Zimmer spent the early part of his career in the United Kingdom before moving to the United States. He is the head of the film music division at DreamWorks studios, and works with other composers through the company which he founded, Remote Control Productions.^[1]

Zimmer's works are notable for integrating electronic music sounds with traditional orchestral arrangements. He has received four Grammy Awards, two Golden Globes, a Classical BRIT Award, and an Academy Award. He was also named on the list of Top 100 Living Geniuses, published by The Daily Telegraph.^[2]

Early life[link]

Zimmer was born in Frankfurt am Main, Germany. As a young child, he lived in Königstein-Falkenstein, where he played the piano at home, but had piano lessons only briefly as he disliked the discipline of formal lessons.^[3] He moved to London as a teenager, where he attended Hurtwood House school.^[4] In an interview with the German television station ZDF in 2006, he commented: "My father died when I was just a child, and I escaped somehow into the music and music has been my best friend."^[5]

Early career[link]

Zimmer began his career playing keyboards and synthesizers. He worked with The Buggles, a New Wave band formed in 1977 with Trevor Horn, Geoff Downes, and Bruce Woolley. Zimmer can be seen briefly in The Buggles' music video for the 1979 song "Video Killed the Radio Star".^[6] After working with The Buggles, he started to work for the Italian group Krisma, a New Wave band formed in 1976 with Maurizio Arcieri and Christina Moser. He was a featured synthesist for Krisma’s third album, Cathode Mamma. He has also worked with the band Helden (with Warren Cann from Ultravox).^[7] Both Zimmer (on keyboards) and Cann (on drums), were invited to be part of the Spanish group Mecano for a live performance in Segovia (Spain) in 1984. Two songs from this concert were included in the "Mecano: En Concierto" album released in 1985 only in Spain. In 1980 Zimmer co-produced a single, "The History Of The World Part 1," with, and for, UK Punk band The Damned, which was also included on their 1980 LP release, "The Black Album," and carried the description of his efforts as "Over-Produced by Hans Zimmer."

While living in London, Zimmer wrote advertising jingles for Air-Edel Associates.^[7] In the 1980s, Zimmer partnered with Stanley Myers, a prolific film composer who wrote the scores for over sixty films. Zimmer and Myers co–founded the London–based Lillie Yard recording studio. Together, Myers and Zimmer worked on fusing the traditional orchestral sound with electronic instruments.^[8] Some of the films on which Zimmer and Myers worked are Moonlighting (1982), Success is the Best Revenge (1984), Insignificance (1985), and My Beautiful Launderette (1985). Zimmer's first solo score was Terminal Exposure for director Nico Mastorakis in 1987, for which he also wrote the songs. Zimmer acted as score producer for the 1987 film The Last Emperor, which won the Academy Award for Best Original Score.^[7]

One of Zimmer's most durable works from his time in the United Kingdom is the theme song for the television game show Going for Gold, which he composed with Sandy McClelland in 1987. In an interview with the BBC, Zimmer said: "Going For Gold was a lot of fun. It's the sort of stuff you do when you don't have a career yet. God, I just felt so lucky because this thing paid my rent for the longest time."^[9]

Hollywood film scoring[link]

A turning point in Zimmer's career occurred with the 1988 film Rain Man.^[8] Hollywood director Barry Levinson was looking for someone to score Rain Man, and his wife heard the soundtrack CD of the anti-Apartheid drama A World Apart, for which Zimmer had composed the music. Levinson was impressed by Zimmer's work, and hired him to score Rain Man.^[10] In the score, Zimmer uses synthesizers (mostly a Fairlight CMI) mixed with steel drums. Zimmer explained that "It was a road movie, and road movies usually have jangly guitars or a bunch of strings. I kept thinking don't be bigger than the characters. Try to keep it contained. The Raymond character doesn't actually know where he is. The world is so different to him. He might as well be on Mars. So, why don't we just invent our own world music for a world that doesn't really exist?".^[11] Zimmer’s score for Rain Man was nominated for an Academy Award in 1989, and the film won four Academy Awards including Best Picture.^[12]

A year after Rain Man, Zimmer was asked to compose the score for Bruce Beresford's Driving Miss Daisy which, like Rain Man, won an Academy Award for Best Picture. Driving Miss Daisy’s instrumentation consisted entirely of synthesizers and samplers, played by Zimmer. According to an interview with Sound On Sound magazine in 2002, the piano sounds heard within the score come from the Roland MKS–20, a rackmount synthesizer. Zimmer joked: "It didn't sound anything like a piano, but it behaved like a piano."^[13]

1991's Thelma & Louise soundtrack by Zimmer featured the trademark slide guitar performance by Pete Haycock on the "Thunderbird" theme in the film. As a teenager, Zimmer was a fan of Haycock, and their collaboration on film scores includes K2 and Drop Zone.^[14]

For the 1992 film The Power of One, Zimmer traveled to Africa in order to use African choirs and drums in the recording of the score. On the strength of this work, Disney Animation Studios approached Zimmer to compose the score for the 1994 film The Lion King. This was to be his first score for an animated film. Zimmer said that he had wanted to go to South Africa to record parts of the soundtrack, but was unable to visit the country as he had a police record there "for doing 'subversive' movies" after his work on The Power of One. Disney studio bosses expressed fears that Zimmer would be killed if he went to South Africa, so the recording of the choirs was organized during a visit by Lebo M.^[15] Zimmer won numerous awards for his work on The Lion King, including an Academy Award for Best Original Score, a Golden Globe, and two Grammys. In 1997, the score was adapted into a Broadway musical version which won the Tony Award for Best Musical in 1998.^[16][17] As of April 2012^[update], the musical version of The Lion King is the highest grossing Broadway show of all time, having grossed $853.8 million.^[18]

	Crimson Tide - "Roll Tide" noicon A clip from the score of the 1995 film Crimson Tide.
Problems listening to this file? See media help.

Zimmer's score for Crimson Tide (1995) won a Grammy Award for the main theme, which makes heavy use of synthesizers in place of traditional orchestral instruments. For The Thin Red Line (1998), Zimmer said that the director Terrence Malick wanted the music before he started filming, so he recorded six and a half hours of music.^[11] Zimmer's next project was The Prince of Egypt (1998), which was produced by DreamWorks Animation. He introduced Ofra Haza, an Israeli Yemenite singer, to the directors, and they thought she was so beautiful that they designed one of the characters in the film to look like her.^[11]

Work: 2000–present[link]

	Gladiator - "Battle" noicon A clip from the score of the 2000 film Gladiator.
Problems listening to this file? See media help.

In the 2000s, Zimmer has composed scores for Hollywood blockbuster films including Gladiator (2000), Black Hawk Down and Hannibal (2001), The Last Samurai (2003), The Da Vinci Code (2006) The Simpsons Movie (2007), Angels and Demons (2009) and Sherlock Holmes (2009). While writing the score for The Last Samurai, Zimmer felt that his knowledge of Japanese music was extremely limited. He began doing extensive research, but the more he studied, the less he felt he knew. Finally, Zimmer took what he had written to Japan for feedback and was shocked when he was asked how he knew so much about Japanese music.^[11]

During the scoring of The Last Samurai in early 2003, Zimmer was approached by the producer Jerry Bruckheimer, with whom he had worked previously on Crimson Tide, The Rock and Pearl Harbor. Bruckheimer had finished shooting Pirates of the Caribbean: The Curse of the Black Pearl, but was unhappy with the music composed for the film by Alan Silvestri and wanted a replacement score.^[19] Bruckheimer wanted Zimmer to rescore the film, but due to his commitments on The Last Samurai, the task of composing and supervising music for Pirates of the Caribbean: The Curse of the Black Pearl was given to Klaus Badelt, one of Zimmer's colleagues at Media Ventures. Zimmer provided some themes that were used in the film, although he is not credited on screen.^[20][21] Zimmer was hired as the composer for the three subsequent films in the series, Pirates of the Caribbean: Dead Man's Chest (2006), Pirates of the Caribbean: At World's End (2007), and Pirates of the Caribbean: On Stranger Tides (2011), collaborating with Rodrigo y Gabriela.^[22]

For the 2009 film Sherlock Holmes, "The Daily Variety" reported that Zimmer purchased an out-of-tune piano for 200 dollars and used it throughout the scoring process because of its "quirkiness".^[23]

Hans Zimmer in 2008

Zimmer is also noted for his work on the scores of Christopher Nolan's Batman Begins (2005) and The Dark Knight (2008), on which he collaborated with James Newton Howard.^[9] The scores for these films were disqualified from receiving Academy Award nominations for Best Original Score due to too many composers being listed on the cue sheet.^[24] Zimmer succeeded in reversing the decision not to nominate The Dark Knight in December 2008, arguing that the process of creating a modern film score was collaborative, and that it was important to credit a range of people who had played a part in its production.^[25] Zimmer explained his approach to scoring with other musicians in an interview with Soundtrack.net in 2006:

	Hans Zimmer and Lisa Gerrard - "Now We Are Free" noicon A clip from the score of the 2000 film Gladiator.
Problems listening to this file? See media help.

"Originally I had this idea that it should be possible to create some kind of community around this kind of work, and I think by muddying the titles - not having "you are the composer, you are the arranger, you are the orchestrator" - it just sort of helped us to work more collaboratively. It wasn't that important to me that I had "score by Hans Zimmer" and took sole credit on these things. It's like Gladiator: I gave Lisa Gerrard the co-credit because, even though she didn't write the main theme, her presence and contributions were very influential. She was more than just a soloist, and this is why I have such a problem with specific credits."^[26]

Zimmer is also composing the score for The Dark Knight Rises, the final installment of Christopher Nolan's Batman trilogy. The film is scheduled for release in July 2012.^[27]

Zimmer works with other composers through his company Remote Control Productions, formerly known as Media Ventures. His studio in Santa Monica, California has an extensive range of computer equipment and keyboards, allowing demo versions of film scores to be created quickly.^[28] His colleagues at the studio have included Harry Gregson-Williams, James Dooley, Geoff Zanelli, Henning Lohner, Steve Jablonsky, Mark Mancina, John Van Tongeren, John Powell and Thomas J. Bergersen.

In October 2000, Zimmer performed live in concert for the first time with an orchestra and choir at the 27th Annual Flanders International Film Festival in Ghent.^[29] He has received a range of honors and awards, including the Lifetime Achievement Award in film Composition from the National Board of Review, the Frederick Loewe Award in 2003 at the Palm Springs International Film Festival, ASCAP’s Henry Mancini Award for Lifetime Achievement, and BMI's Richard Kirk Award for lifetime achievement in 1996. Recent work includes the Spanish language film Casi Divas,^[30] Sherlock Holmes, The Burning Plain (2009), and Inception (2010). He composed the theme for the television boxing series The Contender, and worked with Lorne Balfe on the music for Call of Duty: Modern Warfare 2, which was his first video game project.^[31] Zimmer also collaborated with composers Borislav Slavov and Tilman Sillescu to create the score for the video game Crysis 2.^[32]

In December 2010, Zimmer received a star on the Hollywood Walk of Fame. He dedicated the award to his publicist and long term friend Ronni Chasen, who was shot dead in Beverly Hills the previous month.^[33]

Zimmer composed and produced the music for the 84th Academy Awards with Pharrell Williams of The Neptunes.^[34]

Zimmer lives in Los Angeles with his wife Suzanne, and has four children.^[35][36]

Discography and awards[link]

References[link]

External links[link]

	Book: Hans Zimmer
Wikipedia books are collections of articles that can be downloaded or ordered in print.

Wikimedia Commons has media related to: Hans Zimmer

• Official website
• Hans Zimmer at the Internet Movie Database
• Interview with Hans Zimmer in Film Score Monthly
• Interview with Hans Zimmer about Sherlock Holmes from C Music TV
• Focus.De