Mary Elizabeth Hartman (December 2, 1943 – June 10, 1987) was an American actress, best known for her performance in the 1965 film A Patch of Blue, playing a blind girl named Selina D'Arcy, opposite Sidney Poitier, a role for which she won the Golden Globe Award for New Star Of The Year - Actress and was nominated for the Academy Award for Best Actress and Golden Globe Award for Best Actress – Motion Picture Drama. The next year, she appeared in You're a Big Boy Now as Barbara Darling, for which she was nominated for the Golden Globe Award for Best Actress – Motion Picture Musical or Comedy.

Early life[link]

Hartman was born in Youngstown, Ohio, where she became known to patrons of the Youngstown Playhouse as "Biff" Hartman.^[1] After gaining valuable experience in community theater, she relocated to New York City. In 1964, Hartman was signed to play the ingénue lead in the Broadway comedy Everybody Out, the Castle is Sinking.

Film and theatre career[link]

In 1964, Hartman was screen-tested by MGM and Warner Brothers.^[1] In the early autumn of 1964, she was offered a leading role in A Patch of Blue, opposite Sidney Poitier and Shelley Winters. The role won Hartman widespread critical acclaim, a fact proudly noted by the news media in her hometown.^[2] The role also won Hartman an Academy Award nomination for Best Actress. At the time of her nomination in 1966, Elizabeth Hartman (who was 22 years old) was the youngest nominee ever in the Best Actress category. That same year, Hartman received an achievement award from the National Association of Theater Owners.^[3]

She went on to star in three well-received films, The Group, You're a Big Boy Now and The Beguiled. A role as wife of former Sheriff Buford Pusser in Walking Tall (1973) was followed a decade later by voice work in 1982's The Secret of NIMH, wherein she voiced mouse-heroine Mrs. Brisby. This proved to be her last Hollywood film role.

In 1975, Hartman starred in the world premiere of Academy and Emmy Awards nominee Tom Rickman's^[4] play Balaam, a play about political intrigue in Washington, D.C. Her costar was veteran actor Peter Brandon,^[5] with supporting roles played by Howard Whalen^[6][7] and Ed Harris. The performance was mounted in Old Town Pasadena, California, by the Pasadena Repertory Theatre located in The Hotel Carver. It was directed by Hartman's husband, Gill Dennis^[8] and produced by Duane Waddell.

Final years[link]

Throughout much of her life, Hartman suffered from depression.^[9] In her later years, her mental health continued to decline and she moved to Pittsburgh, Pennsylvania to be closer to her family. In 1984, she divorced her husband, screenwriter Gill Dennis, after a five-year separation. In the last few years of her life, she gave up acting altogether and worked at a museum in Pittsburgh while receiving treatment for her condition at an outpatient clinic. However, on June 10, 1987, Hartman fell to her death from the fifth floor window of her apartment, in what was believed to be a suicide.^[9] Earlier that morning, she had reportedly called her psychiatrist saying that she was feeling down.^[10] Hartman's remains were subsequently buried at Forest Lawn Memorial Park Cemetery in her hometown.^[11]

Filmography[link]

See also[link]

• List of oldest and youngest Academy Award winners and nominees

References[link]

External links[link]

Biography portal

• Elizabeth Hartman at the Internet Movie Database
• Elizabeth Hartman at the Internet Broadway Database
• Elizabeth Hartman at Find a Grave

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]

Further reading[link]

• Thomas, Tony: Music For The Movies (1973)
• Thomas, Tony: Film Score (1979)
• Brown, Royal S.: Overtones And Undertones (1994)
• Büdinger, Matthias: "A Patch Of Goldsmith". In: Soundtrack vol. 8, No. 69, p. 46-48

External links[link]

Wikiquote has a collection of quotations related to: Jerry Goldsmith

• Jerry Goldsmith at the Internet Movie Database
• Jerry Goldsmith at Memory Alpha (a Star Trek wiki)
• Jerry Goldsmith Online
• StarTrek.com Creative Staff Profile
• Jerry Goldsmith at Soundtrackguide.net
• Jerry Goldsmith at The Danish Filmmusic Society (DFS)
• Jerry Goldsmith Discography at SoundtrackCollector.com
• Jerry Goldsmith at Epdlp
• Jerry Goldsmith Film Music Society

Lena Horne
Horne in her stage show, Nine O'Clock Revue, 1961.
Background information
Birth name	Lena Mary Calhoun Horne
Born	(1917-06-30)June 30, 1917 Brooklyn, New York, U.S.
Died	May 9, 2010(2010-05-09) (aged 92) New York City, New York, U.S.
Genres	Broadway, traditional pop, vocal jazz
Occupations	Singer, dancer, actress, civil rights activist, recording artists
Instruments	Vocals
Years active	1933–2000
Labels	MGM, RCA Victor, United Artists, Blue Note, Qwest/Warner Bros. Records
Associated acts	Harry Belafonte, Tony Bennett, Vic Damone, Judy Garland, Duke Ellington, Billy Strayhorn, Billie Holiday, Sammy Davis, Jr., Barbra Streisand, Teddy Wilson

Lena Mary Calhoun Horne (June 30, 1917 – May 9, 2010) was an American singer, actress, civil rights activist and dancer.

Horne joined the chorus of the Cotton Club at the age of sixteen and became a nightclub performer before moving to Hollywood, where she had small parts in numerous movies, and more substantial parts in the films Cabin in the Sky and Stormy Weather. Due to the Red Scare and her left-leaning political views, Horne found herself blacklisted and unable to get work in Hollywood.^[1]

Returning to her roots as a nightclub performer, Horne took part in the March on Washington in August 1963, and continued to work as a performer, both in nightclubs and on television, while releasing well-received record albums. She announced her retirement in March 1980, but the next year starred in a one-woman show, Lena Horne: The Lady and Her Music, which ran for more than three hundred performances on Broadway and earned her numerous awards and accolades. She continued recording and performing sporadically into the 1990s, disappearing from the public eye in 2000.

Early life[link]

Horne was born in the Bedford-Stuyvesant neighborhood of Brooklyn.^[1] Reported to be descended from the John C. Calhoun family, both sides of her family were a mixture of European American, Native American, and African American descent, and each belonged to what W. E. B. Du Bois called "The Talented Tenth", the upper stratum of middle-class, well-educated blacks, some of whom were mixed race.^[2][3]

Her father, Edwin Fletcher "Teddy" Horne, Jr. (1892–1970),^[4][5] a numbers kingpin in the gambling trade, left the family when she was three and moved to an upper-middle-class black community in the Hill District community of Pittsburgh, Pennsylvania.^[6][7] Her mother, Edna Louise Scottron (1895–1985), daughter of inventor Samuel R. Scottron, was an actress with a black theatre troupe and traveled extensively. Scottron's maternal grandmother, Amelie Louise Ashton, was a Senegalese slave.^[8] Lena Horne was mainly raised by her grandparents, Cora Calhoun and Edwin Horne.^[5]

When Horne was five, she was sent to live in Georgia.^[9] For several years, she traveled with her mother.^[10] From 1927 to 1929 she lived with her uncle, Frank S. Horne, who was dean of students at Fort Valley Junior Industrial Institute in Fort Valley, Georgia ^[10] and who would later become an adviser to Franklin Delano Roosevelt.^[11]

From Fort Valley, southwest of Macon, Horne briefly moved to Atlanta with her mother; they returned to New York when Horne was 12 years old.^[10] She then attended Girls High School, an all-girls public high school in Brooklyn which has since become Boys and Girls High School; she dropped out without earning a diploma. Aged 18, she moved in with her father in Pittsburgh, staying in the city's Little Harlem for almost five years and learning from native Pittsburghers Billy Strayhorn and Billy Eckstine, among others.^[12]

Career[link]

Road to Hollywood[link]

In the fall of 1933, Horne joined the chorus line of the Cotton Club in New York City. In the spring of 1934, she had a featured role in the Cotton Club Parade starring Adelaide Hall who took Lena under her wing. A few years later she joined Noble Sissle's Orchestra, with which she toured and with whom she recorded her first record release, a 78rpm single issued by Decca Records. After she separated from her first husband, Horne toured with bandleader Charlie Barnet in 1940–41, but disliked the travel and left the band to work at the Café Society in New York. She replaced Dinah Shore as the featured vocalist on NBC's popular jazz series The Chamber Music Society of Lower Basin Street. The show's resident maestros, Henry Levine and Paul Laval, recorded with Horne in June 1941 for RCA Victor. Horne left the show after only six months to headline a nightclub revue on the West Coast, and was replaced by Linda Keene.^{[citation needed]}

Lena Horne photographed by Carl Van Vechten, 1941

Horne already had two low-budget movies to her credit: a 1938 musical feature called The Duke is Tops (later reissued with Horne's name above the title as The Bronze Venus); and a 1941 two-reel short subject, Boogie Woogie Dream, featuring pianists Pete Johnson and Albert Ammons. Horne's songs from Boogie Woogie Dream were later released individually as soundies. Horne was primarily a nightclub performer during this period, and it was during a 1943 club engagement in Hollywood that talent scouts approached Horne to work in pictures. She chose Metro-Goldwyn-Mayer, and became the first black performer to sign a long-term contract with a major Hollywood studio. November 1944 she was featured in an episode of the popular radio series, Suspense, as a fictional nightclub singer, with a large speaking role along with her singing. In 1945 and 1946 she sang with Billy Eckstine's Orchestra.

She made her debut with MGM in Panama Hattie (1942) and performed the title song of Stormy Weather based loosely on the life of Adelaide Hall, (1943), which she made at 20th Century Fox, on loan from MGM. She appeared in a number of MGM musicals, most notably Cabin in the Sky (also 1943), but was never featured in a leading role because of her race and the fact that films featuring her had to be re-edited for showing in states where theaters could not show films with black performers. As a result, most of Horne's film appearances were stand-alone sequences that had no bearing on the rest of the film, so editing caused no disruption to the storyline; a notable exception was the all-black musical Cabin in the Sky, although one number was cut because it was considered too suggestive by the censors. "Ain't it the Truth" was the song (and scene) cut before the release of the film Cabin in the Sky. It featured Horne singing "Ain't it the Truth", while taking a bubble bath (considered too "risqué" by the film's executives). This scene and song are featured in the film That's Entertainment! III (1994) which also featured commentary from Horne on why the scene was deleted prior to the film's release.

Horne in Till the Clouds Roll By, 1946

In Ziegfeld Follies (1946) she performed "Love" by Hugh Martin and Ralph Blane. Horne wanted to be considered for the role of Julie LaVerne in MGM's 1951 version of Show Boat (having already played the role when a segment of Show Boat was performed in Till the Clouds Roll By) but lost the part to Ava Gardner, a personal friend in real life, due to the Production Code's ban on interracial relationships in films. In the documentary That's Entertainment! III Horne stated that MGM executives required Gardner to practice her singing using Horne's recordings, which offended both actresses. Ultimately, Gardner's voice was overdubbed by actress Annette Warren (Smith) for the theatrical release.

Changes of direction[link]

By the mid-1950s, Horne was disenchanted with Hollywood and increasingly focused on her nightclub career. She only made two major appearances in MGM films during the 1950s: Duchess of Idaho (which was also Eleanor Powell's film swan song); and the 1956 musical Meet Me in Las Vegas. She was blacklisted during the 1950s for her political views.^[13] She returned to the screen three more times, playing chanteuse Claire Quintana in the 1969 film Death of a Gunfighter, Glinda in The Wiz (film) (1978), and co-hosting the 1994 MGM retrospective That's Entertainment! III, in which she was candid about her treatment by the studio.

After leaving Hollywood, Horne established herself as one of the premiere nightclub performers of the post-war era. She headlined at clubs and hotels throughout the U.S., Canada, and Europe, including the Sands Hotel in Las Vegas, the Cocoanut Grove in Los Angeles, and the Waldorf-Astoria in New York. In 1957, a live album entitled, Lena Horne at the Waldorf-Astoria, became the biggest selling record by a female artist in the history of the RCA-Victor label. In 1958, Horne was nominated for a Tony Award for "Best Actress in a Musical" (for her part in the "Calypso" musical Jamaica) which, at Lena's request featured her longtime friend Adelaide Hall.