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Spiral orb webs in Karijini, Western Australia

Garden Orbweaver with beetle prey caught in its web

A spider web, spiderweb, spider's web or cobweb (from the obsolete word coppe, meaning "spider")^[1] is a device built by a spider out of proteinaceous spider silk extruded from its spinnerets.

Spider webs have existed for at least 141 million years, as witnessed in a rare find of Early Cretaceous amber from Sussex, southern England.^[2] Insects can get trapped in spider webs, providing nutrition to the spider; however, not all spiders build webs to catch prey, and some do not build webs at all. "Spider web" is typically used to refer to a web that is apparently still in use (i.e. clean), whereas "cobweb" refers to abandoned (i.e. dusty), webs.^[3]

Silk production[link]

Clearly visible spider silk production

Zygiella orb web

Spider web covered in hoar frost

When spiders moved from the water to the land in the Early Devonian period, they started making silk to protect their bodies and their eggs.^[4][5] Spiders gradually started using silk for hunting purposes, first as guide lines and signal lines, then as ground or bush webs, and eventually as the aerial webs which are so famous today.^[6]

Spiders produce silk from their spinneret glands located at the tip of their abdomen. Each gland produces a thread for a special purpose – for example a trailed safety line, sticky silk for trapping prey or fine silk for wrapping it. Spiders use different gland types to produce different silks, and some spiders are capable of producing up to 8 different silks during their lifetime.^[7]

Most spiders have three pairs of spinnerets, each having its own function – there are also spiders with just one pair and others with as many as four pairs.

Webs allow a spider to catch prey without having to expend energy by running it down. Thus it is an efficient method of gathering food. However, constructing the web is in itself an energetically costly process because of the large amount of protein required, in the form of silk. In addition, after a time the silk will lose its stickiness and thus become inefficient at capturing prey. It is common for spiders to eat their own web daily to recoup some of the energy used in spinning. The silk proteins are thus recycled.

The tensile strength of spider silk is greater than the same weight of steel and has much greater elasticity. Its microstructure is under investigation for potential applications in industry, including bullet-proof vests and artificial tendons. Researchers have used genetically modified mammals to produce the proteins needed to make this material.^[8][9][10]

Types of spider webs[link]

Argiope sp. sitting on web decorations at the center of the web

There are a few types of spider webs found in the wild, and many spiders are classified by the webs they weave. Different types of spider webs include:

• Spiral orb webs, associated primarily with the family Araneidae, as well as Tetragnathidae and Uloboridae^[11]
• Tangle webs or cobwebs, associated with the family Theridiidae
• Funnel webs, with associations divided into primitive and modern
• Tubular webs, which run up the bases of trees or along the ground
• Sheet webs

Several different types of silk may be used in web construction, including a "sticky" capture silk and "fluffy" capture silk, depending on the type of spider. Webs may be in a vertical plane (most orb webs), a horizontal plane (sheet webs), or at any angle in between. It is hypothesized that these types of aerial webs co-evolved with the evolution of winged insects. As insects are spiders' main prey, it is likely that they would impose strong selectional forces on the foraging behavior of spiders.^[4][12] Most commonly found in the sheet-web spider families, some webs will have loose, irregular tangles of silk above them. These tangled obstacle courses serve to disorient and knock down flying insects, making them more vulnerable to being trapped on the web below. They may also help to protect the spider from predators such as birds and wasps.^[13]

Orb web construction[link]

This unreferenced section requires citations to ensure verifiability.

During the process of making an orb web, the spider will use its own body for measurements.

Many webs span gaps between objects which the spider could not cross by crawling. This is done by letting out a first fine adhesive thread to drift on the faintest breeze across a gap. When it sticks to a suitable surface at the far end, the spider will carefully walk along it and strengthen it with a second thread. This process is repeated until the thread is strong enough to support the rest of the web.

After strengthening the first thread, the spider will continue to make a Y-shaped netting. The first three radials of the web are now constructed. More radials are added, making sure that the distance between each radial is small enough to cross. This means that the number of radials in a web directly depends on the size of the spider plus the size of the web.

After the radials are complete, the spider will fortify the center of the web with about five circular threads. Then a spiral of non-sticky, widely spaced threads is made for the spider to easily move around its own web during construction, working from the inside out. Then, beginning from the outside in, the spider will methodically replace this spiral with another, more closely spaced one of adhesive threads. It will utilize the initial radiating lines as well as the non-sticky spirals as guide lines. The spaces between each spiral will be directly proportional to the distance from the tip of its back legs to its spinners. This is one way the spider will use its own body as a measuring/spacing device. While the sticky spirals are formed, the non-adhesive spirals are removed as there is no need for them anymore.

Australian garden orb weaver spider, after having captured prey

After the spider has completed its web, it will chew off the initial three center spiral threads then sit and wait. If the web is broken without any structural damage during the construction, the spider does not make any initial attempts to rectify the problem.

The spider, after spinning its web, will then wait on or near the web for a prey animal to become trapped. The spider senses the impact and struggle of a prey animal by vibrations transmitted through the web. A spider positioned in the middle of the web makes for a highly visible prey for birds and other predators, even without web decorations. Many day-hunting orb-web spinners reduce this risk by hiding at the edge of the web with one foot on a signal line from the hub or by appearing to be inedible or unappetizing.

Spiders do not usually adhere to their own webs, because they are able to spin both sticky and non-sticky types of silk, and are careful to travel across only non-sticky portions of the web. However, they are not immune to their own glue. Some of the strands of the web are sticky, and others are not. For example, if a spider has chosen to wait along the outer edges of its web, it may spin a non-sticky prey or signal line to the web hub to monitor web movement.

Uses[link]

A soldier ant finds itself entangled in the web of a garden spider

Some species of spiders do not use webs for capturing prey directly, instead pouncing from concealment (e.g. trapdoor spiders) or running them down in open chase (e.g. wolf spiders). The net-casting spider balances the two methods of running and web spinning in its feeding habits. This spider weaves a small net which it attaches to its front legs. It then lurks in wait for potential prey and, when such prey arrives, lunges forward to wrap its victim in the net, bite and paralyze it. Hence, this spider expends less energy catching prey than a primitive hunter such as the Wolf spider. It also avoids the energy loss of weaving a large orb web.

Some spiders manage to use the signaling-snare technique of a web without spinning a web at all. Several types of water-dwelling spiders will rest their feet on the water's surface in much the same manner as an orb-web user. When an insect falls onto the water and is ensnared by surface tension, the spider can detect the vibrations and run out to capture the prey.

In traditional European medicine, cobwebs are used on wounds and cuts and seem to help healing and reduce bleeding.^[14]

Cobweb paintings, which began during the 16th century in a remote valley of the Austrian Tyrolean Alps, were created on fabrics consisting of layered and wound cobwebs, stretched over cardboard to make a mat, and strengthened by brushing with milk diluted in water. A small brush was then used to apply watercolor to the cobwebs, or custom tools to create engravings. Fewer than a hundred cobweb paintings survive today, most of which are held in private collections.^[15]

It is common for webs to be about 20 times the size of the spider building it. Spider webs are rich in vitamin K, which can be effective in clotting blood. Webs were used several hundred years ago as gauze pads to stop an injured person's bleeding.^[16]

Optics[link]

Recently, researchers have used spider web fibers (silk threads) to induce minute disturbances into propagating N-slit interferometric signals, used in optical communications. These optical disturbances are detected in the form of diffraction patterns.^[17]

Adhesive properties[link]

The stickiness of spiders' webs is courtesy of droplets of glue suspended on the silk threads. This glue is multifunctional – that is, its behaviour depends on how quickly something touching it attempts to withdraw. At high velocities, they function as an elastic solid, resembling rubber; at lower velocities, they simply act as a sticky glue. This allows them to retain a grip on attached food particles.^[18]

Spider Close Up

Communal spider webs[link]

The communal spider web at Lake Tawakoni State Park

Occasionally, a group of spiders may build webs together in the same area. One such web, reported in 2007 at Lake Tawakoni State Park in Texas, measured 200 yards (180 m) across. Entomologists believe it may be the result of social cobweb spiders or of spiders building webs to spread out from one another.

There is no consensus on how common this occurrence is.^[19]

Outside influences[link]

Certain drugs, including caffeine, affect the way spiders build webs.

Administering certain drugs to spiders has an effect on the structure of the webs they build. It has been proposed by some that this could be used as a method of documenting and measuring the toxicity of various substances.^[20][21]

Low gravity[link]

It has been observed that being in Earth's orbit has an effect on the structure of spider webs in space.^[22]

Spider webs were spun in low earth orbit in 1973 aboard Skylab, involving two female European garden spiders (cross spiders) called Arabella and Anita, as part of an experiment on the Skylab 3 mission.^[23] The aim of the experiment was to test whether the two spiders would spin webs in space, and, if so, whether these webs would be the same as those that spiders produced on Earth. The experiment was a student project of Judy Miles of Lexington, Massachusetts.^[23]

After the launch on July 28, 1973, and entering Skylab, the spiders were released by astronaut Owen Garriott into a box that resembled a window frame.^[23] The spiders proceeded to construct their web while a camera took photographs and examined the spiders' behavior in a zero-gravity environment. Both spiders took a long time to adapt to their weightless existence. However, after a day, Arabella spun the first web in the experimental cage, although it was initially incomplete.

The web was completed the following day. The crew members were prompted to expand the initial protocol. They fed and watered the spiders, giving them a house fly.^[24] The first web was removed on August 13 to allow the spider to construct a second web. At first, the spider failed to construct a new web. When given more water, it built a second web. This time, it was more elaborate than the first. Both spiders died during the mission, possibly from dehydration.^[23]

When scientists were given the opportunity to study the webs, they discovered that the space webs were finer than normal Earth webs, and although the patterns of the web were not totally dissimilar, variations were spotted, and there was a definite difference in the characteristics of the web. Additionally, while the webs were finer overall, the space web had variations in thickness in places: some places were slightly thinner, and others slightly thicker. This was unusual, because Earth webs have been observed to have uniform thickness.^[25]

See also[link]

• Filter feeder

Notes[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Spider web

• Spiders on drugs The effects of drugs on spider web building
• More spiders on drugs More pictures of webs constructed by spiders under the influence of varied drugs
• Web construction in Araneus diadematus Movies of the web construction in the cross spider Araneus diadematus
• Oldest known spider web A 110 million-year-old web preserved in amber
• Spider Webs Vast spider web covering several trees at Lake Tawakoni State Park, Texas, in August 2007
• Spider Web Pictures Checkout some collections of the most beautiful spider web pictures.

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Sir David Attenborough
Attenborough in May 2003
Born	(1926-05-08) 8 May 1926 (age 86) Isleworth, London
Nationality	British
Alma mater	Clare College, Cambridge (natural sciences) London School of Economics (social anthropology)
Occupation	Broadcaster Naturalist
Title	Member of the Order of Merit Companion of Honour Commander of the Royal Victorian Order Commander of the Order of the British Empire Fellow of the Royal Society Fellow of Zoological Society of London
Spouse	Jane Elizabeth Ebsworth Oriel (m. 1950–1997, her death)
Children	Robert Attenborough Susan Attenborough

Sir David Frederick Attenborough ( /ˈætənbərə/) OM, CH, CVO, CBE, FRS, FZS, FSA (born 8 May 1926) is a British broadcaster and naturalist.

His career as the face and voice of natural history programmes has endured for more than 50 years. He is best known for writing and presenting the nine Life series, in conjunction with the BBC Natural History Unit, which collectively form a comprehensive survey of all life on the planet. He is also a former senior manager at the BBC, having served as controller of BBC Two and director of programming for BBC Television in the 1960s and 1970s.

Attenborough is widely considered a national treasure in Britain, although he himself does not care for the term.^[1][2][3] He is a younger brother of director, producer and actor Richard Attenborough.^[4]

Early life and family[link]

Attenborough was born in Isleworth, west London, but grew up in College House on the campus of the University College, Leicester, where his father, Frederick, was principal.^[5] He is the middle of three sons (his elder brother, Richard, became an actor and his younger brother, John, an executive at Italian car manufacturer Alfa Romeo).^[6] During World War II his parents also adopted two Jewish refugee girls from Europe.^[7][8]

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

Attenborough was educated at Wyggeston Grammar School for Boys in Leicester and then won a scholarship to Clare College, Cambridge in 1945, where he studied geology and zoology and obtained a degree in natural sciences.^[9] In 1947, he was called up for national service in the Royal Navy and spent two years stationed in North Wales and the Firth of Forth.

In 1950, Attenborough married Jane Elizabeth Ebsworth Oriel; the marriage lasted until her death in 1997. The couple had two children, Robert and Susan.^[8] Robert is a senior lecturer in bioanthropology for the School of Archaeology and Anthropology at the Australian National University in Canberra.^[10]

First years at the BBC[link]

After leaving the Navy, Attenborough took a position editing children's science textbooks for a publishing company. He soon became disillusioned with the work, however, and in 1950, he applied for a job as a radio talks producer with the BBC. Although he was rejected for this job, his CV later attracted the interest of Mary Adams, head of the Talks (factual broadcasting) department of the BBC's fledgling television service. Attenborough, like most Britons at that time, did not own a television, and he had seen only one programme in his life.^[11] However, he accepted Adams' offer of a three-month training course, and in 1952 he joined the BBC full-time. Initially discouraged from appearing on camera because Adams thought his teeth were too big,^[12] he became a producer for the Talks department, which handled all non-fiction broadcasts. His early projects included the quiz show Animal, Vegetable, Mineral? and Song Hunter, a series about folk music presented by Alan Lomax.

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

In 1957, the BBC Natural History Unit was formally established in Bristol. Attenborough was asked to join it, but declined, not wishing to move from London where he and his young family were settled. Instead he formed his own department, the Travel and Exploration Unit,^[13] which allowed him to continue to front Zoo Quest as well as produce other documentaries, notably the Travellers' Tales and Adventure series.

In the early 1960s, Attenborough resigned from the permanent staff of the BBC to study for a postgraduate degree in social anthropology at the London School of Economics, interweaving his study with further filming.^[14] However, he accepted an invitation to return to the BBC as controller of BBC Two before he could finish the degree.

BBC administration[link]

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

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

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

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

Return to broadcasting[link]

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

On his return, he began to work on the scripts for Life on Earth. Due to the scale of his ambition, the BBC decided to partner with an American network to secure the necessary funding. While the negotiations were proceeding he worked on a number of other television projects. He presented a series on tribal art (The Tribal Eye, 1975) and another on the voyages of discovery (The Explorers, 1975). He also presented a BBC children's series about cryptozoology entitled Fabulous Animals (1975), which featured mythical creatures such as the griffin and kraken.^[15] Eventually, the BBC signed a co-production deal with Turner Broadcasting and Life on Earth moved into production in 1976.

Life series[link]

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

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

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

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

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

The evolutionary history is finished. The endeavour is complete. If you'd asked me 20 years ago whether we'd be attempting such a mammoth task, I'd have said "Don't be ridiculous!" These programmes tell a particular story and I'm sure others will come along and tell it much better than I did, but I do hope that if people watch it in 50 years' time, it will still have something to say about the world we live in.^[16]

However, in 2010 Attenborough asserted that his First Life — dealing with evolutionary history before Life on Earth — should also be included within the "Life" series. In the documentary Attenborough's Journey he stated, "This series, to a degree which I really didn't fully appreciate until I started working on it, really completes the set."^[17]

Other documentaries[link]

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

Attenborough narrated every episode of Wildlife on One, a BBC One wildlife series which ran for 253 episodes between 1977 and 2005. At its peak, it drew a weekly audience of eight to ten million, and the 1987 episode "Meerkats United" was voted the best wildlife documentary of all time by BBC viewers.^[18] He has also narrated over 50 episodes of Natural World, BBC Two's flagship wildlife series. (Its forerunner, The World About Us, was created by Attenborough in 1969, as a vehicle for colour television.^[19]) In 1997, he narrated the BBC Wildlife Specials, each focussing on a charismatic species, and screened to mark the Natural History Unit's 40th anniversary.

As a writer and narrator, he continued to collaborate with the BBC Natural History Unit in the new millennium. Alastair Fothergill, a senior producer with whom Attenborough had worked on The Trials of Life and Life in the Freezer, was making The Blue Planet (2001), the Unit's first comprehensive series on marine life. He decided not to use an on-screen presenter due to difficulties in speaking to camera through diving apparatus, but asked Attenborough to narrate the films. The same team reunited for Planet Earth (2006), the biggest nature documentary ever made for television and the first BBC wildlife series to be shot in high definition. In 2011, Fothergill gave Attenborough a more prominent role in Frozen Planet, a major series on the natural history of the polar regions. Attenborough appeared on screen and authored the final episode, in addition to performing voiceover duties.

In 2009, he co-wrote and narrated Life, a ten-part series focussing on extraordinary animal behaviour,^[20] and narrated Nature's Great Events, which showed how seasonal changes trigger major natural spectacles.^[21]

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

Attenborough is also forging a new partnership with Sky, working on documentaries for the broadcaster's new 3D network, Sky 3D. Their first collaboration was Flying Monsters 3D, a film about pterosaurs which debuted on Christmas Day of 2010.^[22] A second film, The Bachelor King 3D, followed a year later, and further collaborations are planned.

Current projects[link]

Attenborough celebrates his 60th year in broadcasting in 2012, and continues to work on a number of television, film and radio projects. The anniversary will be marked by the BBC with the screening of Attenborough: 60 Years in the Wild, a three part series which looks at how wildlife filmmaking techniques, discoveries in the field of biological sciences and our relationship with the natural world have all developed over the past 60 years.^[23]

Further collaborations with Sky 3D are also in the pipeline. First will come Kingdom of Plants 3D, a three-part series filmed at the Royal Botanical Gardens, Kew which debuts on 26 May 2012 and will be simulcast on Sky Atlantic HD.^[24] A series on the wildlife of the Galapagos Islands has also been announced^[25] and the Sky 3D film The Bachelor King 3D, which Attenborough wrote and narrated, will get a theatrical release in 2012. All Attenborough's 3D projects are being co-produced by Atlantic Productions, as is a second series of First Life, which will explore the origins of the mammals.^[26]

2012 will also herald the third series of David Attenborough's Life Stories for BBC Radio 4 and the new commission David Attenborough's Natural Curiosities on Eden.^[27]

Other work[link]

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

In 1990, he highlighted the case of Mahjoub Sharif as part of the BBC's Prisoners of Conscience series.^[28]

In January 2009, the BBC commissioned Attenborough to provide a series of 20 ten-minute monologues covering the history of nature. Entitled David Attenborough's Life Stories, they are broadcast on Radio 4 in the Friday night slot vacated by Alistair Cooke's Letter from America.^[29] Part of Radio 4's A Point of View strand, the talks are also available as podcasts.^[30]

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

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

Achievements, awards and recognition[link]

Attenborough's contribution to broadcasting and wildlife film-making has brought him international recognition. He has been called "the great communicator, the peerless educator"^[31] and "the greatest broadcaster of our time".^[32] His programmes are often cited as an example of what public service broadcasting should be, even by critics of the BBC, and have influenced a generation of wildlife film-makers.^[33]

Honorary titles[link]

In 2010 it was reported that Attenborough has been given 29 honorary degrees by British universities, more than any other person.^[34] In 1980, he was honoured by the Open University, with whom he has had a close association throughout his career. He also has honorary Doctor of Science awards from the University of Cambridge (1984), the University of Oxford (1988)^[35], the University of Bath (1981)^[36] and the University of St Andrews (2011).^[37] In 2006, the two eldest Attenborough brothers returned to their home city to receive the title of Distinguished Honorary Fellows of the University of Leicester, "in recognition of a record of continuing distinguished service to the University."^[38] David Attenborough was previously awarded an honorary Doctor of Letters degree by the university in 1970, and was made an honorary Freeman of the City of Leicester in 1990.

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

Recognition[link]

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

Attenborough was named as the most trusted celebrity in Britain in a 2006 Reader's Digest poll,.^[39] and the following year he won The Culture Show's Living Icon Award.^[40] He has also been named among the 100 Greatest Britons in a 2002 BBC poll and is one of the top ten "Heroes of Our Time" according to New Statesman magazine.^[41]

He has the distinction of having a number of newly discovered species and fossils being named in his honour. In 1993, after discovering that the Mesozoic reptile Plesiosaurus conybeari had not, in fact, been a true plesiosaur, the paleontologist Robert Bakker renamed the species Attenborosaurus conybeari.^[42] A fossilised armoured fish discovered at the Gogo Formation, Western Australia in 2008 was given the name Materpiscis attenboroughi, after Attenborough had filmed at the site and highlighted its scientific importance in Life on Earth.^[43] The Materpiscis fossil is believed to be the earliest organism capable of internal fertilisation.

He has also lent his name to a species of Ecuadorian flowering tree, Blakea attenboroughi, one of the world's largest-pitchered carnivorous plants, Nepenthes attenboroughii,^[44] and one of only four species of long-beaked echidna, the critically endangered Zaglossus attenboroughi, discovered by explorer and zoologist Tim Flannery in the Cyclops Mountains of New Guinea in 1998.

In September 2009, London's Natural History Museum opened the Attenborough Studio, part of its Darwin Centre development.^[45]

Awards[link]

• 1970: BAFTA Desmond Davis Award
• 1974: Commander of the Order of the British Empire (CBE)
• 1980: BAFTA Fellowship
• 1983: Fellow of the Royal Society (FRS)
• 1985: Knighthood^[46]
• 1991: Commander of the Royal Victorian Order (CVO) for producing Queen Elizabeth II's Christmas broadcast for a number of years from 1986
• 1991: Foreign Honorary Member of the American Academy of Arts and Sciences^[47]
• 1996: Companion of Honour (CH) "for services to nature broadcasting"
• 1998: International Cosmos Prize
• 2003: Michael Faraday Prize awarded by the Royal Society
• 2004: Descartes Prize for Outstanding Science Communication Actions
• 2004: Caird Medal of the National Maritime Museum
• 2005: Order of Merit (OM)^[48]
• 2005: Nierenberg Prize for Science in the Public Interest
• 2006: National Outdoor Book Award (Nature and the Environment category), Life in the Underground
• 2006: National Television Awards Special Recognition Award
• 2006: Institute of Ecology and Environmental Management^[49] - Institute Medal in recognition of his outstanding contribution to the public perception and understanding of ecology
• 2006: The Culture Show British Icon Award
• 2007: British Naturalists' Association Peter Scott Memorial Award
• 2009: BAFTA Specialist factual award for Life In Cold Blood
• 2009: Prince of Asturias Award^[50]
• 2010: Fonseca Prize
• 2010: Queensland Museum Medal^[51][52]
•  ???? RSPB Medal^[53][54]
• 2011: Society for the History of Natural History Founders' Medal

Views and advocacy[link]

Environmental causes[link]

Attenborough's programmes have often included references to the impact of human society on the natural world. The last episode of The Living Planet, for example, focuses almost entirely on humans' destruction of the environment and ways that it could be stopped or reversed. Despite this, he has been criticised for not giving enough prominence to environmental messages. Some environmentalists feel that programmes like Attenborough's give a false picture of idyllic wilderness and do not do enough to acknowledge that such areas are increasingly encroached upon by humans.^[55]

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

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

Attenborough has subsequently become more vocal in his support of environmental causes. In 2005 and 2006, he backed a BirdLife International project to stop the killing of albatross by longline fishing boats.^[56] He gave public support to WWF's campaign to have 220,000 square kilometres of Borneo's rainforest designated a protected area.^[57] He also serves as a vice-president of BTCV, vice-president of Fauna and Flora International, president of Butterfly Conservation and president of Leicestershire and Rutland Wildlife Trust. In 2003 he launched an appeal to create a rainforest reserve in Ecuador in memory of Christopher Parsons, the producer of Life on Earth and a personal friend, who had died the previous year. The same year, he helped to launch ARKive,^[58] a global project instigated by Parsons to gather together natural history media into a digital library. ARKive is an initiative of Wildscreen, of which Attenborough is a patron.^[59] He later became patron of the World Land Trust, and an active supporter. He supported Glyndebourne in their successful application to obtain planning permission for a wind turbine in an Area of Outstanding Natural Beauty, and gave evidence at the planning inquiry arguing in favour of the proposal.

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

He has written and spoken publicly about the fact that, despite past scepticism, he believes the Earth's climate is warming in a way that is cause for concern, and that this can likely be attributed to human activity.^[60] He summed up his thoughts at the end of his 2006 documentary "Can We Save Planet Earth?" as follows:

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

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

I don't think whole populations are villainous, but Americans are just extraordinarily unaware of all kinds of things. If you live in the middle of that vast continent, with apparently everything your heart could wish for just because you were born there, then why worry? [...] If people lose knowledge, sympathy and understanding of the natural world, they're going to mistreat it and will not ask their politicians to care for it.^[61]

Religion and creationism[link]

In a December 2005 interview with Simon Mayo on BBC Radio Five Live, Attenborough stated that he considers himself an agnostic.^[62] When asked whether his observation of the natural world has given him faith in a creator, he generally responds with some version of this story, making reference to the Loa loa parasitic worm:

My response is that when Creationists talk about God creating every individual species as a separate act, they always instance hummingbirds, or orchids, sunflowers and beautiful things. But I tend to think instead of a parasitic worm that is boring through the eye of a boy sitting on the bank of a river in West Africa, [a worm] that's going to make him blind. And [I ask them], 'Are you telling me that the God you believe in, who you also say is an all-merciful God, who cares for each one of us individually, are you saying that God created this worm that can live in no other way than in an innocent child's eyeball? Because that doesn't seem to me to coincide with a God who's full of mercy'.^[63]

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

In a BBC Four interview with Mark Lawson, Attenborough was asked if he at any time had any religious faith. He replied simply, "No."^[64] He has also said "It never really occurred to me to believe in God".^[65]

In 2002, Attenborough joined an effort by leading clerics and scientists to oppose the inclusion of creationism in the curriculum of UK state-funded independent schools which receive private sponsorship, such as the Emmanuel Schools Foundation.^[66] In 2009, Attenborough stated that the Book of Genesis, by saying that the world was there for people to dominate, had taught generations that they can "dominate" the environment, and that this has resulted in the devastation of vast areas of the environment.^[67] Attenborough further explained to the science journal Nature, "That's why Darwinism, and the fact of evolution, is of great importance, because it is that attitude which has led to the devastation of so much, and we are in the situation that we are in."^[68][69]

Also in early 2009, the BBC broadcast an Attenborough one-hour special, Charles Darwin and the Tree of Life. In reference to the programme, Attenborough stated that "People write to me that evolution is only a theory. Well, it is not a theory. Evolution is as solid a historical fact as you could conceive. Evidence from every quarter. What is a theory is whether natural selection is the mechanism and the only mechanism. That is a theory. But the historical reality that dinosaurs led to birds and mammals produced whales, that's not theory."^[70] He strongly opposes creationism and its offshoot "intelligent design", saying that a survey that found a quarter of science teachers in state schools believe that creationism should be taught alongside evolution in science lessons was "really terrible".^[70]

In March 2009, Attenborough appeared on Friday Night with Jonathan Ross. Attenborough stated that he felt evolution did not rule out the existence of a God and accepted the title of agnostic saying, "My view is: I don't know one way or the other but I don't think that evolution is against a belief in God."^[71]

Attenborough has joined evolutionary biologist Richard Dawkins and other top scientists in signing a campaign statement coordinated by the British Humanist Association (BHA). The statement calls for "creationism to be banned from the school science curriculum and for evolution to be taught more widely in schools."^[72]

BBC and public service broadcasting[link]

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

PSB, to me, is not about selecting individual programme strands here or there, financing them from some outside source and then foisting them upon commercial networks. Public Service Broadcasting, watched by a healthy number of viewers, with programmes financed in proportion to their intrinsic needs and not the size of the audience, can only effectively operate as a network — a network whose aim is to cater for the broadest possible range of interests, popular as well as less popular, a network that measures its success not only by its audience size but by the range of its schedule.^[73]

Public service broadcasting is one of the things that distinguishes this country and makes me want to live here. I have spent all my life in it. I would be very distressed if public service broadcasting was weakened. I have been at the BBC since 1952, and know the BBC is constantly being battered. It is today.^[74]

If you could demonstrate that the BBC was grossly extravagant there might be a case for saying OK take it away. But in fact the BBC per minute in almost every category is as cheap as you can find anywhere in the world and produces the best quality. If you take the money away, which part of the BBC will you remove? The BBC has gone through swingeing staff cuts. It has been cut to the bone, if you divert licence fee money elsewhere, you cut quality and services. There is always that threat from politicians who will say your licence fee is up for grabs. We will take it. There is a lot of people who want to see the BBC weakened. They talk of this terrible tax of the licence fee. Yet it is the best bargain that is going. Four radio channels and god knows how many TV channels. It is piffling.^[74]

There have always been politicians or business people who have wanted to cut the BBC back or stop it saying the sort of things it says. There's always been trouble about the licence and if you dropped your guard you could bet our bottom dollar there'd be plenty of people who'd want to take it away. The licence fee is the basis on which the BBC is based and if you destroy it, broadcasting... becomes a wasteland.^[75]

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

There is no question but that Birtism . . . has had some terrible results. On the other hand, the BBC had to change. Now it has to produce programmes no one else can do. Otherwise, forget the licence fee.^[76]

The Bristol Unit has suffered along with the rest of the BBC from recent staff cuts. Yet it remains confident in the belief that the BBC will maintain it, in spite of the vagaries of fashion, because the Corporation believes that such programmes deserve a place in the schedules of any broadcaster with pretensions of providing a Public Service. In due course, similar specialist Units were also established in London, in order to produce programmes on archaeology and history, on the arts, on music and on science. They too, at one time, had their successes. But they have not survived as well as the Unit in Bristol. The statutory requirement that a certain percentage of programmes must come from independent producers has reduced in-house production and the Units necessarily shrank proportionately in size. As they dwindled, so the critical mass of their production expertise has diminished. The continuity of their archives has been broken, they have lost the close touch they once had worldwide with their subjects and they are no longer regarded internationally as the centres of innovation and expertise that they once were.^[77]

When Birt gets up and says the whole of the BBC was a creative mess and it was wasteful, I never saw any evidence of that. I absolutely know it wasn’t so in my time. Producers now spend all their time worrying about money, and the thing has suffered for it.^[78]

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

I have to say that there are moments when I wonder — moments when its two senior networks, first set up as a partnership, schedule simultaneously programmes of identical character, thereby contradicting the very reason that the BBC was given a second network. Then there are times when both BBC One and BBC Two, intoxicated by the sudden popularity of a programme genre, allow that genre to proliferate and run rampant through the schedules. The result is that other kinds of programmes are not placed, simply because of a lack of space. Do we really require so many gardening programmes, make-over programmes or celebrity chefs? Is it not a scandal in this day and age, that there seems to be no place for continuing series of programmes about science or serious music or thoughtful in-depth interviews with people other than politicians?^[73]

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

I think it's in great trouble. The whole system on which it was built — a limited number of networks, with adequate funding — is under threat. That funding is no longer there. As stations proliferate, so audiences are reduced. The struggle for audiences becomes ever greater, while money diminishes. I think that's a fair recipe for trouble. Inevitably, this has an impact on the BBC … Fortunately, the BBC doesn't think natural history programmes must compete with Strictly Come Dancing in terms of audience. The BBC says, 'Make proper, responsible natural history programmes.'^[79]

Other causes[link]

In May 2005, Attenborough was appointed as patron of the UK's Blood Pressure Association, which provides information and support to people with hypertension.^[80]

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

Parodies and artistic portrayals[link]

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

"Time Flies", a sketch by David Ives, features a pair of anthropomorphic mayflies engaging in a courtship ritual, while watching themselves on television in a documentary narrated by David Attenborough.^[81]

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

He has also been parodied by the Australia 1980s sketch show The Comedy Company where Ian McFadyen portrays a character called David Rabbitborough, who goes about examining the "wildlife" of various Australian urban stereotypes.

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

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

Filmography[link]

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

• Life on Earth (1979)
• The Living Planet (1984)
• The Trials of Life (1990)
• Life in the Freezer (1993)
• The Private Life of Plants (1995)
• The Life of Birds (1998)
• The Life of Mammals (2002)
• Life in the Undergrowth (2005)
• Life in Cold Blood (2008)
• First Life (2010)

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

• Wildlife on One (1977–2005)
• BBC Wildlife Specials (1995–2008)
• The Blue Planet (2001)
• Planet Earth (British version) (2006)
• Nature's Great Events (2009)
• Life (2009)
• Frozen Planet (2011)

Books[link]

Bibliography[link]

• Zoo Quest to Guyana (Lutterworth Press, 1956)
• Zoo Quest for a Dragon (Lutterworth Press, 1957)
  • (book club edition with 85 extra pages, Quest for the Paradise Birds, 1959)
• Zoo Quest in Paraguay (Lutterworth Press, 1959)
  • paperback (Penguin Books, 1982)
• Quest in Paradise (1960)
• People of Paradise (Harper & Brothers, 1960)
• Zoo Quest to Madagascar (1961)
• Quest Under Capricorn (1963)
• Fabulous Animals (BBC, 1975) ISBN 0-563-17006-9
• The Tribal Eye (1976)
• Life on Earth (1979)
• Discovering Life on Earth (1981)
• Journeys to the past: Travels in New Guinea, Madagascar, and the northern territory of Australia (1983) Penguin Books ISBN 0-14-00.64133
• The Living Planet (1984)
• The First Eden: The Mediterranean World and Man (1987)(Little Brown & Co (T); 1st American ed edition (March 1990))
• The Atlas of the Living World (1989)
• The Trials of Life (Collins, 1990) ISBN 0-00-219912-2
• The Private Life of Plants (BBC Books, 1994) ISBN 0-563-37023-8
• The Life of Birds (BBC Books, 1998) ISBN 0-563-38792-0
• The Life of Mammals (BBC Books, 2002) ISBN 0-563-53423-0
• Life on Air: Memoirs of a Broadcaster (autobiography; 2002) ISBN 0-563-53461-3
  • paperback: ISBN 0-563-48780-1
  • updated edition: ISBN 978-1-84607-652-7
• Life in the Undergrowth (BBC Books, 2005) ISBN 0-563-52208-9
• Amazing Rare Things - The Art of Natural History in the Age of Discovery with Susan Owens, Martin Clayton and Rea Alexandratos (The Royal Collection, 2007) Hardback - ISBN 978-1-902163-46-8; Softback - ISBN 978-1-902163-99-4
• Life in Cold Blood (BBC Books, 2007) ISBN 978-0-563-53922-3
• Life Stories, (HarperCollins Publishers, 2009) ISBN 978-0-00-733883-2
• New Life Stories, (Collins, 2011) ISBN 978-0-00-742512-9

Introductions[link]

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

• Buxton, Cindy; Annie Price (1983). Survival South Atlantic. London :: Granada,. pp. xiii,237p.,[64]p. of plates : ill(some col.), maps,col.ports. ; 26cm.. ISBN 0-246-12087-8. 
• African Jigsaw: A Musical Entertainment, Peter Rose and Anne Conlon (published: 1986, Weinberger)
• Tomorrow Is Too Late, Various (The Macmillan Press, 1990)
• Life in the Freezer: Natural History of the Antarctic, Alastair Fothergill (BBC Books, 1993), ISBN 0-563-36431-9
• Birds of Paradise: Paradisaeidae (Bird Families of the World series) Clifford B. Frith, Bruce M. Beehler, William T. Cooper (Illustrator) (Oxford University Press, 1998) ISBN 0-19-854853-2
• The Blue Planet, Andrew Byatt, Alastair Fothergill, Martha Holmes (BBC Books, 2001) ISBN 0-563-38498-0.
• Light on the Earth (BBC Books, 2005), two decades of winning images from the Wildlife Photographer of the Year competition, ISBN 0-563-52260-7
• Planet Earth, Alastair Fothergill (BBC Books, 2006), ISBN 0-563-52212-7

Audio recordings[link]

• Tarka the Otter by Henry Williamson (available on audiocassette, 1978)
• Yanomamo (musical entertainment, 1983) by Peter Rose and Anne Conlon; on-stage narration and published audio recording
• Ocean World (musical entertainment, 1990) by Peter Rose and Anne Conlon; on-stage narration (including at The Royal Festival Hall), for audio recording and video broadcast (both published)
• Peter and the Wolf for BBC Music Magazine (free CD with the June 2000 issue).

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

References[link]

External links[link]

Wikiquote has a collection of quotations related to: David Attenborough

Wikimedia Commons has media related to: David Attenborough

• David Attenborough at the Internet Movie Database
• BBC Books David Attenborough website
• BBC Life on Air website
• BBC biography
• Wildfilmhistory.org biography
• BBC interviews with Attenborough in 1976 and 1998
• PBS interview with Attenborough in 1998
• A Life in TV: Sir David Attenborough, BAFTA
• BBC Wildlife Finder - David Attenborough's favourite moments
• Tribute from the World Land Trust
• David Attenborough profile on Eden Channel website
• List of David Attenborough's programmes on Eden Channel website

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2010)

Jamie T.
Background information
Birth name	Jamie Alexander Treays
Born	(1986-01-08) 8 January 1986 (age 26)
Origin	Wimbledon, South London, England
Genres	Post-punk revival, indie rock, UK garage
Occupations	Singer-songwriter
Instruments	Bass Guitar Electric Guitar
Years active	2005–present
Labels	Virgin
Website	Official website

Jamie Alexander Treays^[1] (born 8 January 1986), known by his stage name Jamie T, is an English singer-songwriter from Wimbledon, South London.

Early life[link]

Jamie Alexander Treays was born in Wimbledon, South-West London. He attended The Hall School Wimbledon and then Reed's School in Cobham, Surrey, England until he was 16 and then went to Richmond Upon Thames College for his A-Levels.

He has been nicknamed "one man Arctic Monkey".^[2] Canvas Magazine have described him as "like the bastard lovechild of Billy Bragg and Mike Skinner doing his best Joe Strummer impression".^[3]

Career[link]

He is currently signed to Virgin Records, but released his Betty and the Selfish Sons EP on his own Pacemaker Records label. His backing band are called The Pacemakers and he has lately been touring, advertising and releasing material as "Jamie T and The Pacemakers".

Zane Lowe made "Salvador" his single of the week and "Back in the Game" his Hottest Record in the World. On John Tweddle's show, "Back in the Game" featured as his "Pet Sound" and his single "Sheila" was Jo Whiley's Record of the Week. "Sheila" was also playlisted by BBC Radio 1 thus receiving more airtime across all shows. Jamie's songs received a lot of airplay on XFM throughout 2006, especially "Sheila" and "If You Got The Money".

"Sheila" was released on 29 July 2006. Two videos were made for song; the first video in 2006 consisted of monkeys living in a house and short clips of Jamie singing, while the second video in 2007 features actor Bob Hoskins walking along the River Thames lip synching to the lyrics. On 16 October 2006, Jamie released his anthemic tune, "If You Got the Money" which reached #13 in the charts. His next single "Calm Down Dearest" was released in the UK on 15 January 2007 and reached #9, his first top 10 hit.^[4] His debut album Panic Prevention was then released on 29 January 2007.^[5] When he was younger he used to suffer from panic attacks,^[6] hence the album name. Lily Allen provided backing vocals on the song "Rawhide" the B-side to the re-release of "Sheila" on 7 May 2007.

Awards[link]

Treays supported both the Ordinary Boys during their 2006 tour, and went on to defeat Jarvis Cocker and Thom Yorke to win the Best Solo Artist at the 2007 Shockwave NME Awards.^[7]

On 17 July 2007, Jamie T's debut album Panic Prevention was shortlisted as one of the 12 nominees for the Mercury Prize. Panic Prevention has also received frequent name-checks in the ‘best albums of the decade’ lists, including: #13 out of 50 in Observer Music Monthly and #53 out of 100 in NME magazine.

Jamie T won the Best Solo Artist award at the 2007 and 2010 NME Awards.

Career points[link]

He performed on the Main Stage on 19 May 2007 in Preston for Radio 1's Big Weekend. He also performed at Glastonbury 2007, Benicassim 2007, Oxegen 2007 (8 July) where he performed at the green room, and Carling Weekend Leeds 2007. He played the 2008 V Festival at the JJB Champion ARENA.

The month of September 2007 Jamie T did a US tour, and on 25 September 2007 he made his US television debut on Last Call with Carson Daly performing "Sheila" and also doing an iTunes Session EP.

On January 12, 2009, a music video appeared on Jamie's website for a new song, "Fire Fire". The track has elements of Jamie's trademark sound but incorporates faster rhythms, a punk aesthetic and a more abrasive sound than previous singles. Jamie T has said to NME "'Fire Fire' won't be released as a single nor will it be on the new album, it is just a thank you for the fans being so patient." He did announce a date for his new single though, "Stick 'N' Stones" EP, which was released on 29 June.

21 May 2009 saw the release of the official video for his single "Sticks 'N' Stones". In an email received by subscribers to his website, Jamie said, “Just a little note to say thanks to everyone who’s supporting Sticks ‘N’ Stones. We just finished shooting a little video for the track the other day, so fresh out the edit room it is here for your enjoyment. It was a lot of fun to make and we hope you like it. Hope to see you all soon... Thanks Jamie”. The video was shot almost entirely in the London suburb of Wimbledon, his home town, and features scenes of himself and others, including fellow band members.

On 29 June 2009, Jamie released "Sticks 'N' Stones", the first single from his second album Kings and Queens, as an extended play with three other tracks, "St. Christopher", "On The Green" and "The Dance Of The Young Professionals". "Sticks 'N' Stones" reached no. 15 in the UK singles chart. The song also reached number 14 for 2009 songs on the annual Triple J Hottest 100, one of the largest popularly voted countdowns in the world.

Then on 31 August 2009, he released a further EP, the "Chaka Demus EP" which includes the second single taken from Kings & Queens, also called "Chaka Demus". This too features three other songs; "Forget Me Not (The Love I Knew Before I Grew)", "Planning Spontaneity" and "When They Are Gone (For Tim)".

A week later, on 7 September, second album Kings and Queens was released. This features 11 tracks (plus bonus track "The Curious Sound" featuring Ben Bones, when downloaded from iTunes). Jamie has said that his favourite song in this album is "Emily's Heart" because it reminds him of Emily Evans.^{[citation needed]} After further investigation, it is found that Emily was a former girlfriend.^{[citation needed]} Talking about Kings & Queens, Jamie said "I didn’t do my second album. I did my third one instead."

Kings & Queens reached number 2 in the UK Albums chart. After its release Zane Lowe, on his BBC Radio 1 show, declared Kings & Queens his favourite album of 2009, describing the album as “a brilliant, poignant, incredible observational record” and “flawless.”

On 25 September 2009, Jamie cancelled his Australian tour, due to laryngitis. Six days later, he postponed the first six shows of his sellout UK tour. A week later, however, Jamie cancelled the entire UK and European tours. A statement on his website informs that all Australian, UK and Europe-scheduled shows were cancelled and since then, all three tours were re-scheduled.

On 26 October, Jamie announced he would be releasing a third EP from the album, The Man's Machine. The four track EP will consist of "The Man’s Machine", "Jenny Can Rely On Me", "Man Not A Monster" and "Believing In Things That Can’t Be Done". The Man’s Machine EP was released on CD and 12" vinyl on 23 November 2009

A re-recorded version of "Emily's Heart" premiered as Zane Lowe's Hottest Record In The World on 19 January 2010, and it was confirmed as the next single, with a cover of Bruce Springsteen's "Atlantic City" serving as the B-side. It was released on 15 March.^[8]

On 24 June 2010 Jamie T performed material from the Kings & Queens album at the Engine Shed in Lincoln as a warm-up to his tour. A day later he played the 02 Academy in Liverpool. He then headlined the John Peel Stage at Glastonbury Festival on 26 June 2010.

In April 2012 the NME reported that Jamie T's record label informed them that he was "in the studio working on new material" when questioned. Further evidence of Jamie T's forthcoming return came when Luis from Jamie's band The Pacemakers mentioned Jamie T's forthcoming 3rd album on the Jamie T fan forum.^[9]

Discography[link]

Studio albums[link]

• Panic Prevention (2007)
• Kings & Queens (2009)

Notes[link]

External links[link]

• Jamie T's official website
• Jamie T on Myspace
• Jamie T's live performance at The Current
• Jamie T on The Lana Show

Donald Leroy "Don" LaFontaine^[1] (August 26, 1940 – September 1, 2008) was an American voice actor famous for recording more than 5,000 film trailers and hundreds of thousands of television advertisements, network promotions, and video game trailers. His nicknames included "Thunder Throat" and "The Voice of God".^[2] He became identified with the phrase "In a world…", which has been used in movie trailers so frequently that it has become a cliché. He parodied his career several times, most recently in commercials for GEICO insurance and the Mega Millions lottery game.

Early life[link]

LaFontaine was born August 26, 1940, in Duluth, Minnesota, to Alfred and Ruby LaFontaine.^[3] According to LaFontaine himself, his voice cracked at the age of 13 in the middle of a sentence, giving him the bass tones that would later bring him much fame and success.^[4] After graduating from high school, he enlisted in the United States Army, and worked as a recording engineer for the Army Band and Chorus.

Career[link]

LaFontaine continued to work as a recording engineer after discharge and began working at the National Recording Studios in New York City, where, in 1962, he had the opportunity to work with producer Floyd Peterson on radio spots for Dr. Strangelove. Peterson incorporated many of LaFontaine’s ideas for the spots and, in 1963, they went into business together producing advertising exclusively for the movie industry. LaFontaine claimed that it was this company that first came up with many of the famous movie trailer catch phrases, including his own future signature phrase, "in a world..."^[5]

While working on the 1964 western Gunfighters of Casa Grande, LaFontaine had to fill in for an unavailable voice actor in order to have something to present to MGM. After MGM bought the spots, LaFontaine began a career as a voiceover artist.

He became the head of Kaleidoscope Films Ltd., a major movie trailer producer before starting his own company, Don LaFontaine Associates, in 1976. Shortly thereafter, he was hired by Paramount to do their trailers, and was eventually promoted to a vice president. However, he decided to get back into trailer work and left Paramount, moving to Los Angeles in 1981. LaFontaine was contacted by an agent who wanted to promote him for voiceover work. Thereafter, LaFontaine worked in voiceovers. At his peak, he voiced about 60 promotions a week, and sometimes as many as 35 in a single day. Once he established himself, most studios were willing to pay a high fee for his service. His income was reportedly in the millions.^[6]

LaFontaine often had jobs at a number of different studios each day, and famously hired a driver to take him from studio to studio in order to save time finding parking. With the advent of ISDN technology, LaFontaine built a recording studio in his Hollywood Hills home and began doing his work from home.

LaFontaine lent his very distinctive voice to thousands of movie trailers during his career, spanning every genre from every major film studio, including The Cannon Group, for which he voiced one of their logos. For a time, LaFontaine had a near-monopoly on movie trailer voiceovers. Some notable trailers which LaFontaine highlighted in the intro on his official website include: Terminator 2: Judgment Day, Shrek, Friday the 13th, Law & Order and Batman Returns. LaFontaine stated in 2007 that his favorite work in a movie trailer was for the hit biographical film The Elephant Man,^[7] though according to a response to the question on his website, he had several trailers which stood out in his mind, and he didn't like to choose one.^[8]

Lafontaine also did announcing for a few WWE Pay Per View events, as well as the "Don't Try This at Home" bumper.

In a 2007 interview, LaFontaine explained the strategy behind his signature catch phrase, "in a world where...":

We have to very rapidly establish the world we are transporting them to. That's very easily done by saying, "In a world where... violence rules." "In a world where... men are slaves and women are the conquerors." You very rapidly set the scene.^[9]

LaFontaine also did other voice work, including as the announcer for the newscasts on WCBS-TV New York, from 2000 to 2001. LaFontaine was a recurring guest narrator for clues on the game show Jeopardy!^[10] and appeared on NPR's Wait Wait... Don't Tell Me! on May 14, 2005, where he played "Not My Job" (a game in which famous people have to accurately answer questions totally unrelated to their chosen professions). The prize (for a listener, not the contestant) is "Carl Kassell's voice on your home answering machine". LaFontaine did not win the game, and offered to record the listener's answering machine message himself. LaFontaine once claimed that he enjoyed recording messages like these because it allowed him to be creative in writing unique messages, and said that he would do so for anyone who contacted him if he had the time. However, by 2007, he found the requests to be too numerous for him to take on, and stopped providing the service.^[8]

In 2006, GEICO began airing an ad campaign in which actual customers told their own stories of GEICO experiences, accompanied by a celebrity who helped them make the story interesting. LaFontaine was featured as the celebrity in one of these ads which began airing in August 2006. In the commercial, he was introduced as "that announcer guy from the movies", with his name printed on-screen to identify him. He began his telling of the customer's story with his trademark "In a world...". LaFontaine credited the spot as life-changing for having exposed his name and face to a significant audience, noting, "There goes any anonymity I might have had..."^[11]

Death[link]

On Friday, August 22, 2008, LaFontaine was admitted to Cedars-Sinai Medical Center in Los Angeles, California with a pulmonary embolism and was reported to be in critical condition the following Tuesday. His family made a public appeal for prayers on the Mediabistro.com site.^[12] Ten days later, LaFontaine died on September 1, 2008, six days after his 68th birthday, following complications from a pneumothorax.^[13] He is buried at Hollywood Forever Cemetery. His final television voice over role was for the Phineas and Ferb episode "The Chronicles of Meap" in which he parodied himself, saying as his final line "In a world... There. I said it.". The episode also ended with a short tribute to him.^[14] His final movie trailer voice-over was for Call + Response, a documentary about global slave trade, for which he donated his talent.^[15]

Dedications[link]

On September 6, 2008, America's Most Wanted showed a visual with a picture of him with words below that said "In Memoriam: Don LaFontaine August 26, 1940 - September 1, 2008." John Walsh had announced, prior to the dedication sign, that LaFontaine—who had been the show's announcer since 1988—had died at the age of 68.

On the evening of September 7, 2008, Adult Swim had a bumper that said: Don LaFontaine [1940-2008].

At the end of the credit sequence in the Phineas and Ferb episode "Chronicles of Meap" there is a message on screen saying "In Memoriam... Don LaFontaine 08/26/40 - 09/01/08. One man, in a land, in a time, in a world... All his own." The credit sequence had been designed as a trailer for the "next" Meap episode, or as LaFontaine put it, "Episode 40 -- Meapless in Seattle". As the Disney Channel Original vanity card appears, you hear him say, "In a world...there, I said it. Happy?"

"The Apprentice Scout", an episode of Chowder, is dedicated to LaFontaine. The episode dedicated his memory and said "To Don LaFontaine 1940-2008"

Fellow voice-over artist and friend John Leader retired from the voice-over business on Sept 1, 2008 upon learning of LaFontaine's death.

Satire and other appearances[link]

His voice has been the subject of homage and parody, as seen in a Cartoon Network commercial for The Powerpuff Girls, and the stand-up comedy of Pablo Francisco. Comedian-actress Janeane Garofalo formerly performed "an impression of every movie trailer ever made" with the words, "In a WORLD!…" saying that every movie trailer seems to begin with LaFontaine saying, "In a world…" or "In a town…"

One trailer for The Hitchhiker's Guide to the Galaxy not only spoofs the "In a World Where" theme, but also includes LaFontaine parodying himself when the narrator defines what a trailer is, saying "Trailers also normally employ (enter Don's voice) 'A deep voice, that sounds like a seven-foot-tall man, who has been smoking cigarettes since childhood'.”^[16] The trailer is voiced by fellow voice-over artist Stephen Fry.

LaFontaine's voice was used in Family Guy episodes "North by North Quahog", and "Brian Sings and Swings", and The Untold Story version of "Stewie B. Goode", and has been featured in musical tracks.

On April 12, 2007, LaFontaine appeared on an episode of The Tonight Show with Jay Leno with ousted American Idol finalist Haley Scarnato to provide humorous "movie trailer"-esque commentary, as a spoof of his Geico commercial.

Selected filmography[link]

• Twister Fury on the Plains - Narrator
• The Terminator -Trailer Voice-over
• Terminator 2: Judgment Day - Trailer Voice-over
• Backdraft (film) - TV Spot Voice-over
• George of the Jungle Trailer Voice-over
• Cast Away - Trailer Voice-over
• Fatal Attraction - Trailer Voice-over
• Darkman -Trailer Voice-Over
• White Fang 2: Myth of the White Wolf - Trailer Voice-over
• Batman Returns - Trailer Voice-over
• Masters of the Universe - Trailer Voice-over
• Safety Not Guaranteed - Trailer Voice-over
• Cheaper by the Dozen (2003) - Trailer Voice-over
• Daddy Day Care - TV Spot Voice-over
• Chicken Run - Trailer Voice-over
• Pokémon: The First Movie - Trailer Voice-over
• Pokémon: The Movie 2000 - Trailer Voice-over
• Pokémon 3: The Movie - Trailer Voice-over
• Star Trek: Deep Space Nine - Episode Trailer Voice-over
• Dr. Strangelove - Trailer Voice-over
• PowerSlave (video game) - Narrator
• Extreme Makeover Home Edition - Commercial Voice-over
• Morrow Road - Trailer Voice-over
• Resistance 2 - Trailer Voice-over
• The World's Greatest Magic - Announcer
• The Land Before Time - Promo Voice-over
• 79th Academy Awards - Co-announcer of the 79th Oscars.
• America's Most Wanted - Announcer
• Beyond Belief: Fact or Fiction? - Announcer
• Birds-Eye Steam Fresh frozen vegetables - voice-over
• Entertainment Tonight and The Insider (2004–2008) - Announcer
• Mario and Sonic at the Olympic Games - trailer announcer
• Days of our Lives (1990) - Promo announcer during the climax of the Cruise of Deception storyline
• iZ3D Promotional Video (2008) - Commercial Voice Over
• Tomb Raider Underworld - Commercial Voice-Over
• Universal Studios Hollywood - 2001 Commercial Voice-Over
• MotorStorm - Opening game intro
• The Simpsons Movie - Promo voice-over
• South Park: Bigger, Longer & Uncut (1999) - Trailer Voice-Over
• Home Alone - Trailer Voice-Over
• Starship Troopers - Trailer Voice-over
• Casper: A Spirited Beginning - Trailer Voice-over
• A Christmas Carol (1997) - Trailer Voice-over
• FernGully 2: The Magical Rescue - Trailer Voice-over
• Random! Cartoons - Announcer
• Bof Productions Trailer (2008) - Trailer Voice-over
• Metal Gear Solid 4 - Trailer Voice-over
• A Man Called Sarge (1990) - Narrator
• Jak and Daxter: The Precursor Legacy - Trailer Voice-over
• Jak 3 - Trailer Voice-over

References[link]