Nostromo is a 1904 novel by Polish-born British novelist Joseph Conrad, set in the fictitious South American republic of "Costaguana". It was originally published serially in two volumes of T.P.'s Weekly.

In 1998, the Modern Library ranked Nostromo 47th on its list of the 100 best English-language novels of the 20th century. F. Scott Fitzgerald said, "I'd rather have written Nostromo than any other novel." ^[1]

Background[link]

Conrad set his novel in the mining town of Sulaco, an imaginary port in the occidental region of the imaginary country of Costaguana. The book has more fully developed characters than any other of his novels, but two characters dominate the narrative: Señor Gould and the eponymous anti-hero, the "incorruptible" Nostromo.

Plot summary[link]

Nostromo is set in the South American country of Costaguana (a fictional nation, though its geography as described in the book closely matches real-life Colombia). Costaguana has a long history of tyranny, revolution and warfare, but has recently experienced a period of stability under the dictator Ribiera.

Charles Gould is a native Costaguanero of English descent who owns an important silver-mining concession near the key port of Sulaco. He is tired of the political instability in Costaguana and its concomitant corruption, and uses his wealth to support Ribiera's government, which he believes will finally bring stability to the country after years of misrule and tyranny by self-serving dictators. Instead, Gould's refurbished silver mine and the wealth it has generated inspires a new round of revolutions and self-proclaimed warlords, plunging Costaguana into chaos. Among others, the revolutionary Montero invades Sulaco; Gould, adamant that his silver should not become spoil for his enemies, orders Nostromo, the trusted "capataz de los cargadores" (head longshoreman) of Sulaco, to hide it on an offshore island.

Nostromo is an Italian expatriate who has risen to his position through his daring exploits. ("Nostromo" is Italian for "shipmate" or "boatswain", but the name could also be considered a corruption of the Italian phrase "nostro uomo," meaning "our man.") Nostromo's real name is Giovanni Battista Fidanza — Fidanza meaning "trust" in archaic Italian.

Nostromo is a commanding figure in Sulaco, respected by the wealthy Europeans and seemingly limitless in his abilities to command power among the local population. He is, however, never admitted to become a part of upper-class society, but is instead viewed by the rich as their useful tool. He is believed by Charles Gould and his own employers to be incorruptible, and it is for this reason that Nostromo is entrusted with removing the silver from Sulaco to keep it from the revolutionaries. Nostromo's power and fame continues to grow, as he daringly rides over the mountains to summon the army which saves Sulaco's powerful leaders from the revolutionaries.

In Conrad's universe, however, almost no one is incorruptible. The exploit does not bring Nostromo the fame he had hoped for, and he feels slighted and used. Feeling that he has risked his life for nothing, he is consumed by resentment, which leads to his corruption and ultimate destruction, for he has kept secret the true fate of the silver after all others believed it lost at sea. In recovering the silver for himself, he is shot and killed, mistaken for a trespasser, by the father of his fiancée, the keeper of the lighthouse on the island of Great Isabel.

Film, TV or theatrical adaptations[link]

• In 1991 David Lean, the famous British director, was to film the story of Nostromo, with Steven Spielberg producing it for Warner Bros., but Lean died a few weeks before the principal photography was to begin. Marlon Brando, Paul Scofield, Peter O'Toole, Isabella Rossellini, Christopher Lambert, and Dennis Quaid had all been set to star in this adaptation.

• 1996, a television adaptation Nostromo was produced. It was adapted by John Hale and directed by Alastair Reid for the BBC, Radiotelevisione Italiana, Televisión Española, and WGBH Boston. It starred Claudio Amendola as Nostromo, and Colin Firth as Señor Gould. – Nostromo at the Internet Movie Database

References in other works[link]

• Andrew M. Greeley's 1985 novel Virgin and Martyr has much of the story set in the fictional country of Costaguana. Many of the place names are borrowed from Conrad's novel.

• In Ridley Scott's Alien the mining spacecraft is named Nostromo. In James Cameron's sequel, Aliens, the Marine transport vessel is named Sulaco. (Also in Alien, the escape vessel is named Narcissus, an allusion to another of Conrad's works, The Nigger of the Narcissus.)

• In Interstate '76, a vehicular combat driving game developed by LTI Gray Matter and published by Activision, the gate guard at Autowerks Industrial Complex is named Nostromo . ^[2]

• In Dean Koontz's Fear Nothing (book) The main character Christopher Snow visits a man named Roosevelt Frost in search of answers. Frost lives aboard a boat named Nostromo.

See also[link]

Novels portal

• Thomas L. Jeffers, “The Logic of Material Interests in Conrad’s Nostromo,” Raritan (Fall 2003), 80–111.
• Politics in fiction
• The novel Historia secreta de Costaguana by Juan Gabriel Vásquez, tells the fictional story of José Altamirano, the Colombian "informant" of Joseph Conrad that the Polish-born author all but erased from his famous tale.

References[link]

External links[link]

Wikisource has original text related to this article: Nostromo

• Nostromo, a Tale of the Seaboard at Project Gutenberg
• Essays and annotated text for Nostromo.
• Nostromo at google books
• Analysis and Commentary @ Modernism Lab Essays
• Nostromo Map

PHASE 2 (aka Lonny Wood)^[1] is one of the most influential and well known New York City aerosol artists. Mostly active in the 1970s, Phase 2 is generally credited with originating the "bubble letter" style of aerosol writing, also known as "softies".^[2] He was also influential in the early hip-hop scene.

Graffiti career[link]

Phase 2 is from The Bronx, and attended DeWitt Clinton High School along with a number of other early graffiti artists. Many famous graffiti writers of the early 1970s would meet at a doughnut shop across from the school called the Coffee Shop before heading down to the subway station at 149th Street and Grand Concourse to watch tagged trains on the IRT line pass by.^[3] Phase 2 was mentored in graffiti by his friend and neighbor Thomas Lee aka Lee 163d!, one of the pioneers of graf writing in The Bronx.^[2]

He began writing in late 1971 under the name Phase 2, a moniker which had a rather mundane provenance. As Phase 2 would later recall, "the previous year we'd given this party. We were getting ready to give another one and I said, 'We'll call this one Phase Two.' I don't know why, but I was stuck on the name. It had meaning for me. I started writing 'Phase 2.'"^[4]

Part of the appeal of graffiti writing for Phase 2 was that it allowed him to get his "name" known yet remain anonymous.^[5] He noted later that tagging provided disadvantaged urban teens "the only significant vehicle to represent their 'existence.'"^[6]

It was in late 1972 that Phase 2 first used an early version of the "bubble letter" or "softie", a style of graffiti writing which would become extremely influential and is considered a "giant leap" in the art form.^[2] The puffed-out, marshmallow-like letters drawn by Phase 2 were soon copied by other artists who added their own variations. Phase himself quickly embellished on his original form, creating and naming dozens of varieties of softies such as "phasemagorical phantastic" (bubble letters with stars), "bubble cloud", and "bubble drip."^[7] He is also credited with pioneering the use of arrows in graf writing around this same time.^[8] Hip-hop journalist Jeff Chang has noted that Phase 2's canvasses from 1973 have "been widely recognized as defining the early genre."^[9]

Over time Phase's work become more and more complex, moving far away from the simple tags of the early 70s to "hieroglyphical calligraphic abstraction."^[5] Chang points out that much of Phase's work involved "deconstructing the letter", transforming characters in the alphabet "into hard lines, third eyes, horns, drills, spikes, Egyptian pharaohs and dogs, pure geometrics."^[9] Another New York graffiti artist, Vulcan, remarked that "one of the things about Phase is that he was the only person at the time whose name could roll by ten times and each piece was different. That's what you noticed about his [work]."^[5]

In 1974 Phase 2 joined the newly created United Graffiti Artists, a professional graffiti collective which began to attract media attention. He was featured in an important essay on graffiti art by Richard Goldstein which appeared in New York magazine and inspired a new generation of graffiti artists.^[2]

In the 1980s, Phase 2 began publishing International Graffiti Times, the first zine about graffiti writing.^[10]

Influence in hip-hop[link]

Unlike some other pioneers of New York City graffiti, Phase 2 had a prominent role in The South Bronx hip-hop scene in the early 1980s. He also continues to be referenced in hip-hop songs.

Phase participated in the legendary hip-hop shows organized by Kool Lady Blue during the summer of 1982 at the Roxy nightclub in the Chelsea neighborhood of Manhattan. These shows brought together the top DJ's, MC's, breakers, and aerosol artist from The South Bronx and introduced hip-hop music and culture to the downtown punk and new wave scenes. Phase 2 designed the flyers for these events and often did aerosol pieces live on stage.^[11] He was also part of the first "international" hip-hop tour when stars from the Roxy performances toured in England and France in November of that year.^[12]

Phase 2 was one of the few aerosol artists to be involved in the musical side of hip-hop culture as well. He had a background as a DJ in the very early days of hip-hop, though he never made a name for himself in that role.^[13] In 1982, as part of his involvement with the Roxy scene, Phase released two rap singles. "Beach Boy" was a collaboration with Barry Michael Cooper, who would later co-write the script for New Jack City. "The Roxy" featured the Bill Laswell-led group Material and Grandmixer D.ST, though Phase 2 would later remark that he was disappointed in the song and felt that it "wasn't done properly."^[13][14]

Phase was also an early b-boy and claims that his dance crew pioneered the uprock (or "battle rock") style of dance despite claims that it originated in Brooklyn.^[13] He was thus actively involved in all of the traditional "four elements" of hip-hop culture.

Though he did not have a role in the production, Phase 2 did apparently influence the classic early hip-hop movie Wild Style. In the DVD commentary for the film, director Charlie Ahearn explained that, when thinking about the key character named "Phade", he had Phase 2 in mind (either to actually play the part or simply as a model) because Phase was a legendary graffiti writer from the past who was also involved in the hip-hop scene, as was the character of Phade. The role would ultimately be played by Fab 5 Freddy, himself a graffiti artist who along with Ahearn was the major creative force behind Wild Style. Phase 2 did take on an official role in another early hip-hop film when he worked as a graffiti consultant on the 1984 movie Beat Street.^[15]

In his 1995 song "Out for Fame" - an homage to graffiti artists and culture - KRS-One implores his audience "in the name of Phase 2" and fellow Bronx graffiti legend Stay High to "grab your cans and hit the streets." Several years later Mos Def mentioned Phase 2 on his widely respected debut album Black on Both Sides, specifically on the track "Hip Hop", in which he noted that hip-hop itself was "all city like Phase 2" - presumably a reference to the ubiquity of Phase 2's graffiti pieces on trains throughout the city during the early 1970s. In 1996, he appeared in the song I Messaggeri Pt.I contained in italian artist Neffa's album I Messaggeri della Dopa.

References[link]

Works cited[link]

• George, Nelson Buppies, B-boys, Baps & Bohos: Notes on Post-Soul Black Culture. Da Capo Press. 2001. ISBN 0-306-81027-1. 
• Chang, Jeff (2005). Can't Stop Won't Stop: A History of the Hip-Hop Generation. Picador. ISBN 0-312-42579-1.
• Castleman, Craig (1982). Getting Up: Subway Graffiti in New York. MIT Press. ISBN 0-262-53051-1. 

External links[link]

• Adam Mansbach interview with PHASE 2
• "Writer of the Storm", Raw Vision interview with PHASE 2

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Jerry Goldsmith
Goldsmith conducts the London Symphony Orchestra, 2003
Background information
Birth name	Jerrald King Goldsmith
Born	(1929-02-10)February 10, 1929 Los Angeles, California
Died	July 21, 2004(2004-07-21) (aged 75) Beverly Hills, California
Genres	Film score, Contemporary classical music
Occupations	composer and conductor
Years active	1951 - 2004

Jerrald King "Jerry" Goldsmith (February 10, 1929 – July 21, 2004) was an American composer and conductor most known for his work in film and television scoring.

He composed scores for such noteworthy films as The Sand Pebbles, Planet of the Apes, Patton, Chinatown, The Wind and the Lion, The Omen, The Boys from Brazil, Alien, Poltergeist, Gremlins, Hoosiers, Total Recall, Basic Instinct, Rudy, Air Force One, L.A. Confidential, Mulan, The Mummy, three Rambo films, and five Star Trek films. He was nominated for six Grammy Awards, nine Golden Globes, four BAFTAs, and seventeen Academy Awards. In 1977 he was awarded an Oscar for The Omen.

He collaborated with some of the most prolific directors in film history, including Robert Wise (The Sand Pebbles, Star Trek: The Motion Picture), Howard Hawks (Rio Lobo), Otto Preminger (In Harm's Way), Joe Dante (Gremlins, The 'Burbs, Small Soldiers), Roman Polanski (Chinatown), Ridley Scott (Alien, Legend), Steven Spielberg (Poltergeist, Twilight Zone: The Movie), and Paul Verhoeven (Total Recall, Basic Instinct). However, his most notable collaboration was arguably that with Franklin J. Schaffner, for whom Goldsmith scored such films as Planet of the Apes, Patton, Papillon, and The Boys from Brazil.

Early life and education[link]

Goldsmith, who was Jewish, was born 10 February 1929 in Los Angeles, California.^[1] His parents were Tessa (née Rappaport), an artist, and Morris Goldsmith, a structural engineer.^[2] He started playing piano at age six, but only "got serious" by the time he was eleven. At the age of thirteen he studied piano privately with legendary concert pianist and educator Jakob Gimpel^[3] (whom Goldsmith would later employ to perform piano solos in his score to The Mephisto Waltz) and by the age of sixteen he was studying both theory and counterpoint under Italian composer Mario Castelnuovo-Tedesco, who also tutored such noteworthy composers and musicians as Henry Mancini, Nelson Riddle, Herman Stein, André Previn, Marty Paich, and John Williams.

At the age of sixteen, Goldsmith saw the movie Spellbound (1945) in theaters and was inspired by the soundtrack by veteran composer Miklós Rózsa to pursue a career in music. Goldsmith later enrolled and attended the University of Southern California where he was able to attend courses by Rózsa, but dropped out in favor of a more "practical music program" at the Los Angeles City College.^[4] There he was able to coach singers, work as an assistant choral director, play piano accompaniment, and work as an assistant conductor.^[5]

Film and television scoring[link]

1950s and work at CBS[link]

In 1950, Goldsmith found work at CBS as a clerk typist in the network's music department under director Lud Gluskin.^[5] There he began writing scores for such radio shows as CBS Radio Workshop, Frontier Gentleman, and Romance. In an interview with Andy Velez from BarnesandNoble.com, Goldsmith stated, "It was about 1950. CBS had a workshop, and once a week the employees, whatever their talents, whether they were ushers or typists, would produce a radio show. But you had to be an employee. They needed someone to do music, and I knew someone there who said I'd be great for this. I'd just gotten married and needed a job, so they faked a typing test for me. Then I could do these shows. About six months later, the music department heard what I did, liked it, and gave me a job."^[6] He later progressed into scoring such live CBS television shows as Climax! and Playhouse 90. He also scored multiple episodes of the hit television series The Twilight Zone. He remained at CBS until 1960, after which he moved on to Revue Studios, where he would later compose music for such television shows as Dr. Kildare and The Man from U.N.C.L.E..^[5]

His feature film debut occurred when he composed the music to the western Black Patch (1957). He continued with scores to such films as the western Face of a Fugitive (1957) and the science fiction film City of Fear (1959).^[7]

1960s[link]

Jerry Goldsmith began the decade composing for such television shows as Dr. Kildare and Thriller as well as the drama film The Spiral Road (1960). However, he only began receiving widespread name recognition after his intimate score to the classic western Lonely Are the Brave (1962). His involvement in the picture was the result of a recommendation by veteran composer Alfred Newman who had been impressed with Goldsmith’s score on the television show Thriller and took it upon himself to recommend Goldsmith to the head of Universal Pictures’ music department, despite having never met him.^[8] That same year, Goldsmith composed the mostly atonal and dissonant score to the pseudo-biopic Freud (1962) that focused on a five-year period of the life of psychoanalyst Sigmund Freud. Goldsmith’s score went on to garner him his first Academy Award nomination for Best Original Score, though he lost to fellow first-time nominee Maurice Jarre for his music to Lawrence of Arabia (1962). In 1963, Goldsmith composed a score to The Stripper, his first collaboration with director Franklin J. Schaffner for whom Goldsmith would later score the motion pictures Planet of the Apes (1968), Patton (1970), Papillon (1973), and The Boys from Brazil (1978).^[7]

Following his success with Lonely Are the Brave and Freud, Goldsmith went on to achieve even more critical recognition with the theme music to The Man from U.N.C.L.E (1964), and scores to such films as the western Rio Conchos (1964), the political thriller Seven Days in May (1964), the romantic drama A Patch of Blue (1965), the epic war film In Harm's Way (1965) (in which Goldsmith also made a brief cameo appearance),^[9] the World War I aviation film The Blue Max (1966), the period naval war epic The Sand Pebbles (1966), the thriller Warning Shot (1967), the western Hour of the Gun (1967), and the controversial mystery The Detective (1968).^[10] Goldsmith's scores to A Patch of Blue and The Sand Pebbles garnered him his second and third Oscar nominations, respectively, and were both one of the 250 nominees for the American Film Institute’s top twenty-five American film scores.^[11] His scores for Seven Days in May and The Sand Pebbles also garnered Goldsmith his first two respective Golden Globe nominations for Best Original Score in 1965 and 1967.^[12] During this time, he also composed for many lighter, comedic films such as the family comedy The Trouble with Angels (1966), the James Bond parodies Our Man Flint (1966) and its sequel In Like Flint (1967), and the comedy The Flim-Flam Man (1967).^[7]

In 1968, Jerry Goldsmith caught massive critical attention with his landmark, controversial soundtrack to the post-apocalyptic science fiction epic Planet of the Apes (1968), which was one of the first film scores to be written entirely in an Avant garde style. When scoring Planet of the Apes, Goldsmith used such innovative techniques as looping drums into an echoplex, using the orchestra to imitate the grunting sounds of apes, having horns blown without mouthpieces, and instructing the woodwind players to finger their keys without using any air. He also used steel mixing bowls, among other objects, to create unique percussive sounds.^[7] The score went on to garner Goldsmith another Oscar nomination for Best Original Score and now ranks in #18 on the American Film Institute’s top twenty-five American film scores.^[11] Though he did not return to compose for its sequel Beneath the Planet of the Apes (1970), Goldsmith scored the third installment in the Planet of the Apes franchise, Escape from the Planet of the Apes (1971).

Goldsmith concluded the decade with scores to such films as the western Bandolero! (1968), the spy thriller The Chairman (1969), the science fiction film The Illustrated Man (1969), and the western 100 Rifles (1969). In 1969, he also composed the theme to the comedy-drama television series Room 222.^[7]

1970s[link]

Goldsmith received more critical praise with his pompous, daring music to the World War II biopic Patton (1970). Throughout the score, Goldsmith used an echoplex to loop recorded sounds of "call to war" triplets played on the trumpet that musically represented General George S. Patton's belief in reincarnation. The main theme also consisted of a symphonic march accompanied by a pipe organ to represent the militaristic yet deeply religious nature of the protagonist.^[13] The music to Patton subsequently earned Goldsmith an Academy Award nomination for Best Original Score and was one of the American Film Institute's 250 nominees for the top twenty-five American film scores.^[11] Goldsmith's critical success continued with his emotional score to the prison escape film Papillon (1973), which also earned him a nomination for an Academy Award and a nomination for the AFI's top twenty-five American film scores.^[11]

In 1974, Goldsmith was faced with the daunting task of replacing a score by composer Phillip Lambro to the neo-film noir Chinatown. With only ten days to compose and record an entirely new score, Jerry Goldsmith quickly produced a score that mixed an eastern music sound with elements of jazz in an ensemble that only featured a trumpet, four pianos, four harps, two percussionists, and a string section.^[14][15] Goldsmith received an Academy Award nomination for his efforts though he lost to Nino Rota and Carmine Coppola for The Godfather Part II. The score to Chinatown is often regarded as one of the greatest scores of all time and ranks #9 on AFI's top 25 American film scores.^[11] It was also nominated for a Golden Globe for Best Original Score.^[12]

Goldsmith earned more critical praise with his score to the epic period adventure film The Wind and the Lion (1975), which, true to the style of such Golden Age scores as Maurice Jarre's Lawrence of Arabia, relied upon a diverse ensemble including many Morrocan instruments and a large percussion section.^[16] The score garnered Goldsmith an Academy Award nomination for Best Original Score, though he lost to fellow composer John Williams for his score to Jaws. The Wind and the Lion was also one of AFI's 250 nominees for the top twenty-five American film scores.^[11]

	Jerry Goldsmith - "Ave Satani" noicon "Ave Satani" clip from the soundtrack of The Omen.
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In 1976, Goldsmith composed a dark choral score to the horror movie The Omen, which was the first film score to feature the use of a choir in an Avant-garde style.^[17] The score was successful among critics and garnered Goldsmith his first (and ultimately only) Academy Award for Best Original Score and a nomination for Best Original Song for "Ave Satani".^[18] It was also one of AFI's 250 nominees for the top twenty-five American film scores.^[11] His wife, Carol Heather Goldsmith, also wrote lyrics and performed a vocal track titled "The Piper Dreams" released solely on the soundtrack album.^[17] Goldsmith would go on to compose for two more entrees in the franchise; Damien: Omen II (1978) and Omen III: The Final Conflict (1981).

He continued to have critical success with scores to such films as the dystopian science fiction Logan's Run (1976), the period drama Islands in the Stream (1977) (which remained one of his personal favorites),^[19] the science fiction suspense Coma (1978), the science fiction thriller Capricorn One (1978), the disaster film The Swarm (1978), the period comedy The Great Train Robbery (1979), and his Oscar nominated score to the science fiction thriller The Boys from Brazil (1978), in which he utilized lively waltzes to juxtapose the horrific concept of the film, cloning Adolf Hitler.^[20]

In 1979, Goldsmith composed a score to the landmark science fiction film Alien. His score featured an orchestra augmented by a shofar, didgeridoo, steel drum, and serpent (a 16th century instrument), while creating further "alien" sounds by filtering string pizzicati through an echoplex. Many of the instruments were used in such atypical ways they were virtually unidentifiable. His score was, however, heavily edited during post-production and Goldsmith was required to rewrite music for several scenes. The final score resulted in several pieces being moved, replaced, or cut entirely. Director Ridley Scott and editor Terry Rawlings also, without the consent of Goldsmith, purchased the rights to the "Main Title" from Freud (1962) which they used during the acid blood sequence.^[21] Despite the heavy edits and rewrites, Goldsmith's score to Alien earned him a Golden Globe nomination for Best Original Score^[12] and was one of AFI's 250 nominees for the top twenty-five American film scores.^[11]

That same year, Goldsmith concluded the decade composing what is widely considered his most recognized and celebrated score for Star Trek: The Motion Picture (1979).^[22] Having been the initial choice of Gene Roddenberry to compose the original Star Trek pilot "The Cage" yet being unable to do so due to scheduling conflicts, Goldsmith was the first pick of both Paramount Pictures and director Robert Wise to compose a score for The Motion Picture.^[23] Goldsmith's initial main theme was not well-received by the filmmakers, director Robert Wise stating, "It sounds like sailing ships". Though somewhat irked by its rejection, Goldsmith consented to re-work his initial idea and finally arrived at the majestic Star Trek theme which was ultimately used.^[24] The film's soundtrack also provided a debut for the Blaster Beam, an electronic instrument 12 to 15 feet (3.7 to 4.6 m) long, created by musician Craig Huxley.^[25][26] The Blaster had steel wires connected to amplifiers fitted to the main piece of aluminum; the device was played with an artillery shell. Goldsmith heard it and immediately decided to use it for V'Ger's cues.^[27] An enormous pipe organ first plays the V'Ger theme on the Enterprise's approach, a literal indication of the machine's power.^[28] His score for The Motion Picture earned him nominations for the Academy Awards, Golden Globes,^[12] and was one of AFI's 250 nominees for the top twenty-five American film scores.^[11] Goldsmith would later compose the scores for Star Trek V: The Final Frontier (1989), Star Trek: First Contact (1996), Star Trek: Insurrection (1998), and Star Trek: Nemesis (2002), as well as the theme to the television series Star Trek: Voyager in 1995. In addition, his theme for The Motion Picture, as arranged by Dennis McCarthy, was reused as the theme for Star Trek: The Next Generation in 1987.^[29][30]

1980s[link]

Throughout the 1980s, Goldsmith found himself increasingly scoring science fiction and fantasy films in the ongoing wake of the successful Star Wars (1977) composing for such films as the The Omen sequels Damien: Omen II (1978) and Omen III: The Final Conflict (1981), the space western Outland (1981), the animated fantasy The Secret of NIMH (1982), and the episodic fantasy mystery Twilight Zone: The Movie (1983), which he composed in four different styles to accompany the four parts of the film.^[31]

In 1982, Goldsmith was hired to compose the music to the classic Tobe Hooper directed, Steven Spielberg produced fantasy horror Poltergeist. He wrote several themes for Poltergeist including a gentle lullaby for the protagonist Carol Anne and her family's suburban life, a semi-religious theme for scenes concerning the souls trapped between the two worlds, and bombastic atonal bursts during scenes of horror.^[32] The score for Poltergeist garnered him a nomination for an Academy Award, though he lost again to fellow composer John Williams for E.T. the Extra-Terrestrial (1982). Goldsmith later returned in 1986 to compose the more synthetic score to Poltergeist II, the first of its two sequels.^[33]

He did, however, still manage to compose for such non-fantasy productions as the period television miniseries Masada (1981) (for which he won an Emmy Award), the controversial war film Inchon (1982), the action classic First Blood (1982), and his Oscar and Golden Globe nominated score to the political drama Under Fire (1983) in which he used the ethnic sounds of a South American pan flute, synthetic elements, and the prominently featured solo work of jazz guitarist Pat Metheny.^[12][34]

Throughout the decade, many of his compositions became increasingly laced with synthetic elements such as his scores for the horror sequel Psycho II (1983), the comedy horror film Gremlins (1984) (for which he won a Saturn Award for Best Music),^[35] the fantasy superhero adaptation Supergirl (1984), the fantasy adventure Legend (1985) (initially heard only in European prints and then years later in a 2002 director's cut),^[36] the action sequel Rambo: First Blood Part II (1985), the family fantasy Baby: Secret of the Lost Legend (1985), and the fantasy horror Poltergeist II (1986).^[7] His incorporation of synthesizers, orchestra, and the recorded sounds of basketball hits on a gymnasium floor also garnered him another Academy Award nomination for his innovative and critically acclaimed score to the dramatic sports movie Hoosiers (1986), though he lost to Herbie Hancock for Round Midnight.^[37]

Goldsmith finished out the decade with noteworthy scores to such films as the medieval adventure Lionheart (1987), the science fiction comedy Innerspace (1987), Rambo III (1988), the science fiction horror Leviathan (1989), and Star Trek V: The Final Frontier (1989), his second Star Trek film score.^[7] Goldsmith's score to Leviathan (1989) is notable for having incorporated the use of recorded whale sounds during the main titles.^[38] His critically acclaimed comedy score to The 'Burbs (1989) is also noteworthy for the use of pipe organ, recorded dog barking sound effects, and for parodying the trumpet "call to war" triplets on an echoplex from his previous score to Patton (1970).^[39]

1990s[link]

In 1990, Jerry Goldsmith received critical acclaim for his score to the romantic drama The Russia House, which featured a unique mixture of Russian music and jazz to complement the nationalities and characteristics of the two main characters.^[40] He also composed critically acclaimed music for the science fiction action film Total Recall (1990), which Goldsmith later regarded as one of his best scores.^[41] Other noteworthy scores of the era include Gremlins 2: The New Batch (1990) (in which Goldsmith also made a brief cameo appearance),^[42] the psychological thriller Sleeping with the Enemy (1991), the family comedy Mom and Dad Save the World (1991), the fantasy romance Forever Young (1992), the thriller The Vanishing (1993), and the family comedy Dennis the Menace (1993).^[7] In 1992, Goldsmith also composed a critically acclaimed score for the medical drama Medicine Man.^[43] In concert, Goldsmith would later recount a story of how actor Sean Connery copied Goldsmith's signature ponytail hairstyle for his character Robert Campbell in the film. In the film's closing credits Goldsmith is listed as "hair designer".

In 1992, Goldsmith composed and conducted a score to the erotic thriller Basic Instinct. The soundtrack, an unsettling hybrid of orchestral and electronic elements, garnered him yet another Academy Award nomination as well as a Golden Globe nomination^[12] and was later regarded by the composer as one of his most challenging works.^[44][45] In 1993, Goldsmith also wrote an acclaimed score for the classic sports film Rudy,^[46] which has since been used in the trailers for numerous films including Angels in the Outfield (1994), Good Will Hunting (1997), Spirit: Stallion of the Cimarron (2002), and Seabiscuit (2003).^[47]

	Opening theme noicon Of Star Trek: Voyager composed by Jerry Goldsmith.
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Goldsmith composed acclaimed scores for such films as the superhero adaptation The Shadow (1994), the thriller The River Wild (1994), the romantic comedy I.Q. (1994), the action film Congo (1995), the fantasy adventure First Knight (1995), the science fiction drama Powder (1995), the action film Executive Decision (1996), and his third Star Trek film installment Star Trek: First Contact (1996) which he composed with his son Joel Goldsmith.^[48] In 1995, Goldsmith also composed the theme for the UPN series Star Trek: Voyager for which he won an Emmy Award for Outstanding Main Title Theme Music.

In 1996, Goldsmith composed the critically successful score to the horror action film The Ghost and the Darkness which featured a traditional Irish folk melody interwoven with African rhythms.^[49] In 1997, he was hired to replace a score by Randy Newman for Air Force One. Goldsmith, with the assistance of composer Joel McNeely, completed the brassy, heroic score in only twelve days.^[50] In 1997, Goldsmith also composed a percussive, jazzy score for the critically acclaimed crime drama L.A. Confidential.^[51] His score garnered him nominations for the Oscars, Golden Globes, and was also one of AFI's 250 nominees for the top twenty-five American film scores.^[11][12]

In 1997, he composed a new theme for the Universal Studios opening logo, first heard in The Lost World: Jurassic Park (1997).^[52] He also continued with scores for such films as the survival drama The Edge (1997), the science fiction horror Deep Rising (1998), and the action thriller U.S. Marshals (1998).^[7] In 1998, he also composed a score of combined eastern, orchestral, and synthetic elements for the Disney animated film Mulan, which subsequently earned him his final Oscar and Golden Globe nominations along with songwriter Matthew Wilder and lyricist David Zippel.^[12][53]

Goldsmith concluded the decade with critically successful scores to such popular movies as the action film Small Soldiers (1998), his penultimate Star Trek film Star Trek: Insurrection (1998), the action adventure horror The Mummy (1999), the horror film The Haunting (1999), and the action adventure The 13th Warrior (1999).^[7] In 1999, he also composed "Fanfare for Oscar" for the Academy of Motion Picture Arts and Sciences.^[52]

2000s and final scores[link]

During the early 2000s, Goldsmith composed scores to the science fiction thriller Hollow Man (2000), the mystery film Along Came a Spider (2001), the drama The Last Castle (2001), the action/political thriller The Sum of All Fears (2002), and his last Star Trek film Star Trek: Nemesis (2002), which would also be the last film to feature the cast of Star Trek: The Next Generation.^[7] Goldsmith also composed an original score to the simulator attraction Soarin' Over California which debuted 8 February 2001 at the Disneyland Resort, and the same attraction Soarin' which opened 5 May 2005 in Epcot at the Walt Disney World Resort. It was later said that when Goldsmith first rode the ride, he left it crying and saying, "I'd do anything to be part of this project. I'd even score the film for free."^[54]

Goldsmith's final theatrical score, composed during declining health, was the critically acclaimed music for the live action/animated film Looney Tunes: Back in Action (2003), directed by long-time Goldsmith collaborator Joe Dante.^[55] His last collaboration was with another long-time collaborator, Richard Donner (for whom Goldsmith had scored The Omen in 1976), on the science fiction film Timeline (2003). However, due to a complicated post-production process, Goldsmith's score was rejected and replaced by a new score by composer Brian Tyler. Goldsmith's rejected score was later released on CD, 7 September 2004 through Varèse Sarabande, not long after his death in 2004. The album quickly became out of print and has since become a sought rarity among soundtrack collectors.^[56]

Concert works[link]

• Toccata for Solo Guitar

In the 1950s, Goldsmith composed "Toccata for Solo Guitar".^[57] The music was later performed and recorded by Gregg Nestor and released through BSX Records 5 January 2010.

• The Thunder of Imperial Names

In 1957, Goldsmith composed the patriotic piece based on a text by Thomas Wolfe titled "The Thunder of Imperial Names" for concert band and narration, which first appeared on the CBS Radio Workshop episode "1489 Words".^[58] "The Thunder of Imperial Names" was later performed and re-recorded in 2006 by the United States Air Force Tactical Command Band under conductor Lowell E. Graham and narrated by Gary McKenzie.^[57]

• Christus Apollo

In 1969, the California Chamber Symphony commissioned Goldsmith to compose a cantata based on the text "Christus Apollo" by science fiction author Ray Bradbury, with whom Goldsmith had previously worked on dramatic radio and later the film The Illustrated Man (1969). The piece, written in four parts, consisted of orchestra, choir, mezzo-soprano solo, and narration. Goldsmith composed the piece largely using the 12-tone system, later stating, "I feel there is a great relationship between impressionism and dodecaphonicism and that was the musical language I wanted for 'Christus Apollo'."^[59] For the 2002 Telarc album release, "Christus Apollo" was performed by the London Symphony Orchestra, the London Voices, mezzo-soprano Eirian James, and narrated by actor Anthony Hopkins.^[60]

• Music for Orchestra

In 1970, Goldsmith was approached by conductor Leonard Slatkin to compose a short piece for the Saint Louis Symphony Orchestra. The atonal, bombastic composition was written in three sections developed from one common 12-tone row including the "turbulent" first section, the "introspective" second section, and climaxing in a "very agitated" third section.^[60] Goldsmith later reflected that the piece was a result of much turbulence in his life, stating, "I was going through a divorce and my mother was seriously ill with cancer." Goldsmith continued, "All of my personal turmoil - pain, anger, and sorrow - went into writing 'Music for Orchestra' in strict dodecaphonic form."^[59]

• Fireworks (A Celebration of Los Angeles)

In 1999, Goldsmith composed the energetic "Fireworks" (A Celebration of Los Angeles) to conclude his first concert series with the Los Angeles Philharmonic at the Hollywood Bowl.^[60] Looking back on the experience, Goldsmith later said, "After starting to write what was to be a big fireworks extravaganza, I realized that I was writing about the city where I was born and had lived my entire life. I decided instead to make the piece a grand celebration of my childhood, growing years, my years of maturity, and all the events that climaxed with my first appearance at the Hollywood Bowl."^[59]

Legacy[link]

Jerry Goldsmith has often been considered one of the most innovative and influential composers in the history of film music.^[7] While presenting Goldsmith with a Career Achievement Award from the Society for the Preservation of Film Music in 1993, fellow composer Henry Mancini (Breakfast at Tiffany's, The Pink Panther) said of Goldsmith, "...he has instilled two things in his colleagues in this town. One thing he does, he keeps us honest. And the second one is he scares the hell out of us."^[61] In his review of the 1999 re-issue of the Star Trek: The Motion Picture soundtrack, Bruce Eder highly praised Goldsmith's ability, stating, "...one of the new tracks, 'Spock's Arrival,' may be the closest that Goldsmith has ever come to writing serious music in a pure Romantic idiom; this could have been the work of Rimsky-Korsakov or Stravinsky -- it's that good."^[62] In a 2001 interview, film composer Marco Beltrami (3:10 to Yuma, The Hurt Locker) stated, "Without Jerry, film music would probably be in a different place than it is now. I think he, more than any other composer bridged the gap between the old hollywood scoring style and the the [sic] modern film composer."^[63]

In 2006, upon composing The Omen (a remake of the Goldsmith scored 1976 film), composer Marco Beltrami dedicated his score to Goldsmith, which also included an updated arrangement of "Ave Satani" titled "Omen 76/06".^[64] Likewise, when composer Brian Tyler was commissioned in 2012 to update the Universal Studios logo for the Universal centennial, he retained the "classic melody" originally composed by Goldsmith in 1997, opting to "bring it into the 21st century."^[65]

Personal life[link]

This section requires expansion.

Goldsmith was married twice. He was first married to Sharon Hennagin in 1950 which ended in their divorce in 1970. He later married Carol Heather in 1972 and the couple remained together until his death in 2004. His oldest son Joel Goldsmith (1957 - 2012)^[66] was also a composer and collaborated with his father on the score for Star Trek: First Contact, composing approximately twenty-two minutes of the score.^[48] Jerry Goldsmith also conducted Joel's theme for The Untouchables and composed the theme for the pilot Hollister, scored by Joel.^{[citation needed]} Goldsmith's daughter, Carrie Goldsmith, went to high school with famed Titanic composer James Horner,^[3] who also composed music for Star Trek's second and third movies: Star Trek II: The Wrath of Khan and Star Trek III: The Search for Spock. Carrie Goldsmith was working on a biography of her father, though the book has been suspended indefinitely for unspecified reasons.^[3]

Goldsmith died at his Beverly Hills home on July 21, 2004 after a battle with colon cancer at the age of 75. He is survived by his wife Carol and his children Aaron, Joel (died April 29, 2012), Carrie, Ellen Edson, and Jennifer Grossman.^[7]

List of movies and series[link]

1950s[link]

• The Lineup (1954) (TV series)
• Climax! (1954) (TV series)
• Black Patch (1957)
• Face of a Fugitive (1959)
• City of Fear (1959)
• Playhouse 90 (1959) (TV series)
• The Twilight Zone (1959) (TV series)

1960s[link]

1970s[link]

1980s[link]

1990s[link]

2000s[link]

• Hollow Man (2000)
• Soarin' Over California (2001) (simulator ride)
• Along Came a Spider (2001)
• The Last Castle (2001)
• The Sum of All Fears (2002)
• Star Trek: Nemesis (2002)
• Looney Tunes: Back in Action (2003)
• Timeline (rejected) (2003)

Awards and nominations[link]

Over the course of his career, Goldsmith received a total of 18 Academy Award nominations, making him one of the most nominated composers in the history of the Academy Awards. Despite this Goldsmith only won the Oscar on one occasion, for his score to the 1976 film The Omen. This makes Goldsmith the most nominated composer to have only won an Oscar on one occasion.

AFI[link]

The American Film Institute respectively ranked Goldsmith's scores for Chinatown (1974) and Planet of the Apes (1968) #9 and #18 on their list of the 25 greatest film scores.^[11] He is one of only five composers to have more than one score featured in the list, including Elmer Bernstein, Bernard Herrmann, Max Steiner, and John Williams. His scores for the following films were also nominated for inclusion:

• Alien (1979)
• L.A. Confidential (1997)
• The Omen (1976)
• Papillon (1973)
• A Patch of Blue (1965)
• Patton (1970)
• The Sand Pebbles (1966)
• Star Trek: The Motion Picture (1979)
• The Wind and the Lion (1975)

Accolades[link]

See also[link]

• Film scores
• List of film score composers
• List of Star Trek composers and music

References[link]