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New York Post
a day ago
- Entertainment
- New York Post
Inside the ‘Jaws' theme song creation 50 years ago: ‘Everyone's scared of those two notes'
They were the two notes of terror heard around the world. They were the two notes of terror heard around the world. But director Steven Spielberg initially laughed off composer John Williams' 'Jaws' theme that would become the signature sound — and sign — of the great white shark's attack in the summer blockbuster that opened 50 years ago on June 20, 1975. 'I expected to hear something kind of weird and melodic, something tonal, but eerie; something of another world, almost like outer space under the water,' said Spielberg in a 2012 Blu-ray featurette on the making of 'Jaws.' 7 'When everyone came out and said 'Jaws' scared them out of the water, it was Johnny who scared them out of the water,' said director Steven Spielberg of John Williams' 'Jaws' theme. Bettmann Archive 7 John Williams won the first of his four Oscars for Best Original Score for 'Jaws' in 1976. Bettmann Archive 'And what he played me instead, with two fingers on the lower keys, was 'dun-dun, dun-dun, dun-dun.' And at first, I began to laugh. He had a great sense of humor, and I thought he was putting me on.' But Williams was scaring up the menacing motif that would sink its teeth into moviegoers — and terrify beachgoers — for generations to come in the film classic that would launch his and Spielberg's careers into historic heights. While Spielberg might have first thought it was a joke, Williams was dead serious about the ominous ostinato of notes E and F played by tuba player Tommy Johnson. 'He said, 'You can't be serious?'' Williams — who had previously worked with Spielberg on 1974's 'The Sugarland Express' — told Classic FM in 2022 about his chilling riff to 'represent our primordial fear.' 'I think in Spielberg's mind … you want something really complicated and layered and, you know, atonal horror music or whatever,' film music historian Tim Greiving — who wrote the upcoming biography 'John Williams: A Composer's Life' — exclusively told The Post. 7 'You can almost think of it as, like, it is the shark,' said film historian Tim Greiving of the 'Jaws' theme. Courtesy Everett Collection 'But John Williams has such a great story instinct that he knew that the simpler, the better, that kind of economy and just, like, pure drive was what this movie needed. So, yeah, in this way he knew better than Spielberg.' To Greiving, Williams struck just the right note with the 'Jaws' theme. 'It so perfectly represents the mindless, just predatory instinct of a shark,' he said. 'You can almost think of it as, like, it is the shark.' But, he added, there's also a 'sense of a heartbeat' that captures 'you in the water with your heart rate kind of accelerating as the shark gets closer to you.' 7 'He said, 'You can't be serious?' ' said John Williams (left) of Steven Spielberg's initial reaction to his 'Jaws' theme. Courtesy Everett Collection The 'deceptively simple' phrase was just the right hook to harpoon the masses. 'It's just a very effective storytelling device,' said Greiving. 'I think anything more complicated than that wouldn't have been nearly as effective.' The 'Jaws' theme became a cultural touchstone in and of itself. 'Because 'Jaws' was such a huge phenomenon, it … just permeated everything,' said Greiving. 'And you had this musical signature, this musical brand to that phenomenon. So it's just an easy way to sort of shorthand reference 'Jaws' as a whole phenomenon.' 'I think it's like the opening of Beethoven's Fifth or the strings of 'Psycho.' It's just something so instantly recognizable that those kinds of things just catch on … and, you know, they just never go away, right? That's the brilliance of it.' 7 The shark in 'Jaws' had its own theme, which struck fear across generations. Getty Images However, Greiving notes that the two-note 'Jaws' theme that that has struck fear across generations is just a small part of the score that won Williams the first of his four Oscars for Best Original Score. 'I talked to [Oscar-winning composer] Hans Zimmer for my book, and he just said, 'You know, everyone's scared of those two notes, but for composers, we're scared of everything after those two notes, because the whole thing is so impressive,' ' he said. 'And I think John Williams, as he often does, takes a simple idea, a simple motif, and just expands it and develops it into basically a symphony.' Williams went on to score more than 100 films, including other classic Spielberg collaborations such as 'Close Encounters of the Third Kind,' 'E.T.: The Extra-Terrestrial,' 'Jurassic Park,' 'Schindler's List' and the 'Indiana Jones' franchise,' but he never imagined that the repeated pattern of 'Jaws' would never go away. 7 'He knew better than [Steven] Spielberg,' said Tim Greiving of John Williams (left) proposing the 'Jaws' theme. Getty Images 'At that time, I had no idea that it would have that kind of impact on people,' he told Classic FM. And Spielberg has credited the 'Jaws' theme as a major part of the movie's success. 'When everyone came out and said 'Jaws' scared them out of the water, it was Johnny who scared them out of the water,' Spielberg said in the Blu-ray featurette. 'His music was scarier than seeing the shark.' 7 Richard Dreyfuss (left) and Robert Shaw co-starred in the 1975 summer blockbuster 'Jaws.' Getty Images But for Greiving — whose Williams biography will be released on Sept. 2 — the 'Jaws' theme is even bigger than movies. 'I think the two-note theme in 'Jaws' is maybe the most famous musical unit in the history of music. I think you could argue that,' he said. 'I think more people around the world recognize these two notes played as the 'Jaws' theme more than almost any other piece of music.'
Miami Herald
06-06-2025
- Science
- Miami Herald
Scientists Make World's Smallest Violin
Scientists in the United Kingdom have made what may be the world's smallest violin, using advanced nanotechnology. The microscopic instrument, measuring 35 by 13 microns, and constructed from platinum, is less than the width of a human hair, said Loughborough University researchers. The tiny violin was created to demonstrate the accuracy and versatility of a state-of-the-art nanolithography system. Kelly Morrison, the head of Loughborough University's Physics Department, said the system would allow scientists "to design experiments that probe materials in different ways-using light, magnetism, or electricity-and observe their responses." Scientists said the technology could accelerate breakthroughs in sectors such as computing and energy, allowing researchers to build and study materials at the smallest scale. The miniature violin was made using a NanoFrazor, a system that employs thermal scanning probe lithography. This technique uses a heated, needlelike tip to sculpt material at nanometer precision. According to the university's press release, the process began with a chip being covered in two layers a gel-like material. The pattern was then etched, washed and coated in platinum, then cleaned again to show the final form. Each violin took about three hours to produce after the fabrication sequence was determined, but it took months of development. The violin, which is only an image at microscopic scale, cannot produce sound. The institution said the violin had not been officially confirmed as the world's smallest, though it is smaller than the diameter of a human hair, which typically measures 17 to 180 microns (a micron is a millionth of a meter). Research projects using the nanolithography system to investigate applications-such as developing energy-efficient and faster data storage by combining advanced materials and nanoparticles-are underway at the university. Other research explores quantum materials to make next-generation memory devices smaller, faster and more reliable, and the nanolithography system helps to produce accurate test structures. The team said the knowledge gained from the violin process was vital for these advances. The expression "world's smallest violin" is often used to mock exaggerated complaints. It is believed to have originated in a 1978 episode of M*A*S*H when Major Margaret Houlihan, rubbing her thumb and forefinger together, said: "It's the world's smallest violin, and it's playing just for you," According to ClassicFM. Kelly Morrison, the head of Loughborough University's Physics Department, said in a press release: "Though creating the world's smallest violin may seem like fun and games, a lot of what we've learned in the process has actually laid the groundwork for the research we're now undertaking." She added: "I'm really excited about the level of control and possibilities we have with the setup. I'm looking forward to seeing what I can achieve-but also what everyone else can do with the system." The researchers plan to use the experience and protocols established during this project in ongoing work on data storage and quantum material studies, furthering research into advanced computing technologies. Related Articles Woman's Friend Lives 2,000 Miles Away, Sends Iconic Birthday GiftViolinist on Southwest Flight Ignites DebateItzhak Perlman: I Had Polio-Its Resurgence Angers Me When We Have a VaccineAdorable Moment Little Girl Hugs Violinist Melts Viewers' Hearts 2025 NEWSWEEK DIGITAL LLC.
Newsweek
06-06-2025
- Science
- Newsweek
Scientists Make World's Smallest Violin
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Scientists in the United Kingdom have made what may be the world's smallest violin, using advanced nanotechnology. The microscopic instrument, measuring 35 by 13 microns, and constructed from platinum, is less than the width of a human hair, said Loughborough University researchers. Why It Matters The tiny violin was created to demonstrate the accuracy and versatility of a state-of-the-art nanolithography system. Kelly Morrison, the head of Loughborough University's Physics Department, said the system would allow scientists "to design experiments that probe materials in different ways—using light, magnetism, or electricity—and observe their responses." Scientists said the technology could accelerate breakthroughs in sectors such as computing and energy, allowing researchers to build and study materials at the smallest scale. The 'world's smallest violin' created by Loughborough University physicists. The 'world's smallest violin' created by Loughborough University physicists. Loughborough University What To Know The miniature violin was made using a NanoFrazor, a system that employs thermal scanning probe lithography. This technique uses a heated, needlelike tip to sculpt material at nanometer precision. According to the university's press release, the process began with a chip being covered in two layers a gel-like material. The pattern was then etched, washed and coated in platinum, then cleaned again to show the final form. Each violin took about three hours to produce after the fabrication sequence was determined, but it took months of development. The violin, which is only an image at microscopic scale, cannot produce sound. The institution said the violin had not been officially confirmed as the world's smallest, though it is smaller than the diameter of a human hair, which typically measures 17 to 180 microns (a micron is a millionth of a meter). Research projects using the nanolithography system to investigate applications—such as developing energy-efficient and faster data storage by combining advanced materials and nanoparticles—are underway at the university. Other research explores quantum materials to make next-generation memory devices smaller, faster and more reliable, and the nanolithography system helps to produce accurate test structures. The team said the knowledge gained from the violin process was vital for these advances. The expression "world's smallest violin" is often used to mock exaggerated complaints. It is believed to have originated in a 1978 episode of M*A*S*H when Major Margaret Houlihan, rubbing her thumb and forefinger together, said: "It's the world's smallest violin, and it's playing just for you," According to ClassicFM. Professor Kelly Morrison, left, with Dr. Naëmi Leo, in front of the Loughborough University nanolithography system. Dr. Leo holds the chip that features the image of 'the world's smallest violin'. Professor Kelly Morrison, left, with Dr. Naëmi Leo, in front of the Loughborough University nanolithography system. Dr. Leo holds the chip that features the image of 'the world's smallest violin'. Loughborough University What People Are Saying Kelly Morrison, the head of Loughborough University's Physics Department, said in a press release: "Though creating the world's smallest violin may seem like fun and games, a lot of what we've learned in the process has actually laid the groundwork for the research we're now undertaking." She added: "I'm really excited about the level of control and possibilities we have with the setup. I'm looking forward to seeing what I can achieve—but also what everyone else can do with the system." What Happens Next The researchers plan to use the experience and protocols established during this project in ongoing work on data storage and quantum material studies, furthering research into advanced computing technologies.
ABC News
27-05-2025
- Entertainment
- ABC News
ABC welcomes Philip Noyce as Head of ABC Classic and ABC Jazz
The ABC is delighted to announce that Philip Noyce will join the organisation as the new Head of ABC Classic and ABC Jazz. Philip is one of the most accomplished classical music executives in the industry, with over 15 years' experience across the classical and jazz sectors. He joins the ABC from Classic FM - the UK's most popular classical music station, where he served as Managing Editor and helped shape a service that reaches over 4.7 million listeners each week. Philip's career has also seen him serve as a judge for the Royal Philharmonic Society Awards and the Royal Television Society Awards. He is a talented cellist and the author of a series of acclaimed classical music guides for children. 'It's a fantastic moment to be joining the ABC,' Philip said. 'Especially as it invests in two of its iconic music networks: Classic and Jazz. The opportunity to lead these stations was irresistible, and it's a real honour to step into this role—shaping programming that's distinctive, engaging, and truly audience-focused. 'With ABC Classic set to mark its 50th anniversary next year, there's an incredible legacy to celebrate—and exciting new chapters still to be written. I'm thrilled to now be part of that journey. 'I'm also looking forward to forging new creative partnerships in Australia and championing everything that makes their classical and jazz scenes so vibrant. I can't wait to get started.' Philip joins a strengthened leadership team for the brands alongside recently appointed Content Director Sascha Kelly, whose career spans includes senior roles with Musica Viva. Sascha brings a deep knowledge of Australia's classical music scene and has already introduced a renewed focus on editorial craft across programming and presentation. Together, Philip and Sascha bring complementary strengths that will shape a new chapter for ABC Classic and ABC Jazz. With ABC Classic turning 50 in 2026, this is a unique opportunity to celebrate its legacy and deepen its relevance and impact for Australian audiences. ABC Director of Audio, Ben Latimer, said: 'Philip brings not only a deep understanding of the audience and the artform, but a strong creative energy that will help lead ABC Classic and ABC Jazz into their next chapter. 'With ABC Classic's 50th anniversary on the horizon, we have a rare opportunity to honour its legacy while setting a renewed creative agenda. I'm thrilled to welcome Philip to the ABC and alongside Sascha and our broader leadership team, I'm confident we're building the right foundation to take ABC Classic and Jazz into an exciting future.' Philip will join the ABC in the coming months and will be part of the ABC Audio leadership team, reporting to the Director Audio. Media Contact Laura Todd, ABC Communications
Daily Mail
24-05-2025
- Entertainment
- Daily Mail
Opera star Lesley Garrett: Surgery after my terrifying cancer diagnosis could have destroyed my voice - that would have been a kind of death in itself
When thousands of people gathered to hear British opera legend Lesley Garrett perform in Bristol for an open-air gala in July last year, few could have guessed just how significant an event it was for the star. Indeed, the Doncaster-born soprano, who has enjoyed a hugely successful 45-year singing career which has included serenading the Royal Family, performing in West End musicals and hosting her own show on Classic FM – as well as coming third on the first season of Strictly Come Dancing – likens the experience of performing that day to being 'reborn'. Having delighted the crowd with rousing anthems such as Rule, Britannia! and You'll Never Walk Alone, she recalls telling the audience at the Action Aid event that she was pleased to be back after spending three months recovering from surgery. But, as she acknowledges now, that may have been understating it just a little. For the truth is that Lesley, who turned 70 last month, had been diagnosed with a form of cancer so rare it affects just 380 people in the UK every year – and it could have robbed her of her celebrated voice altogether. Called a thymoma, it is a tumour on the thymus gland – a tiny organ that sits below the breastbone, just above the heart and between the lungs. Its position is perilously close to two important nerves that control movement in the diaphragm and the voice box, so removing the tumour meant there was a small risk of permanent damage that could have left her unable to sing. Not removing it, however, could have allowed the cancer to spread. After delighting the crowd with rousing anthems such as Rule, Britannia! and You'll Never Walk Alone, Garrett told the audience at the Action Aid event that she was pleased to be back following three months of recovery from surgery But thanks to the skill of her NHS surgeons, and the use of high-tech robotic surgery techniques, she was breaking into song – albeit only around her house – just days after the op. And she was back on stage, with the audience none the wiser, in just a few months. Speaking about her ordeal for the first time, Lesley says: 'Knowing there was a risk to my voice, that I could lose it and my career, was so terrifying – so unthinkable – that I had no choice but to lock my fears away. 'If I'd lost the ability to sing, it would have been the end of my life, really – I'd have lost an essential part of myself. Singing isn't just what I do, it's who I am. I'd have lost myself, and I can't imagine what I would have done. It would have been a kind of death. 'But thanks to my wonderful NHS team and the cleverness of the technology I have made a full recovery and there has been no lasting effect on my voice. 'I'm so relieved and grateful, and hope that by shining a light on a rare cancer we can raise awareness and understanding of it.' Lesley – who lives in north London and has two children with her husband Peter Christian, a retired GP – knows only too well the devastation cancer can cause. She lost both parents to different forms of the disease – her father died of leukaemia in December 2012, and her mother followed nine months later after being diagnosed with kidney cancer that had spread to her lungs. But it was when her sister was diagnosed with breast cancer during the early part of the pandemic that she became more 'vigilant' about checking herself for signs of disease. To her surprise, she found a breast lump in autumn 2021 and was referred to the breast clinic at London's Whittington Hospital. But although it was found to be nothing to worry about, a scan picked up the growth on her thymus gland, which is responsible for making infection-fighting immune-system cells. 'These are very rare tumours and most small cancer centres might only see one or two a year,' explains oncologist James Wilson. 'They can behave oddly and jump around the body if they spread or recur, so it's important to see a specialist so they know where to scan. Symptoms generally include a persistent cough, hoarseness or a heaviness in the chest. 'In general, most cases are, like Lesley's, picked up incidentally when people are being investigated for something else – and if removed early, there's an 80 to 90 per cent chance they'll never bother you again.' When Lesley was told the lump that had been discovered was a thymoma, it was originally thought to be benign and need no treatment. But she developed some 'unusual vocal symptoms' in early 2023 and she was referred to specialists at University College Hospital in central London. 'My voice just didn't seem to be behaving properly,' she recalls. 'I'd want to go for a high note and it wouldn't do it in the same way. Something wasn't quite right.' Like most singers, Lesley is supremely well attuned to any vocal issues, and particularly because she had already faced a potentially career-ending crisis 20 years ago when she burst a blood vessel in her larynx during a performance with the English National Opera. Her rehabilitation took months, and doctors only told her once it had healed that the episode could have stopped her singing for good, which she describes as 'genuinely terrifying'. But she had to face those fears again. While a scan appeared to suggest the thymoma had not grown, a multi-disciplinary team led by thoracic surgeon Davide Patrini recommended that she have surgery to remove the tumour and the gland itself. For many thymoma patients this can be a major operation which involves cutting open the sternum – the breastbone – to reach the thymus underneath. It can also be performed in some cases as a keyhole operation, which is less invasive and uses smaller incisions. But at some NHS hospitals, including University College Hospital, the op is increasingly being carried out with advanced surgical technology using a Da Vinci robot. The machines, of which there are around 200 across the NHS, use tiny surgical instruments and state-of-the-art cameras on robotic arms that are inserted into the body through incisions just under 1in wide. The surgeon sits behind a console that gives a clear view inside the patient on screens and allows control of the robotic arms. Mr Patrini said: 'The robotic approach has several proven benefits compared to traditional surgery, including reduced pain, faster recovery and improved surgical precision and dexterity. 'The blood loss is minimal and patients are discharged around 30 to 40 per cent faster, often within 24 to 48 hours.' For Lesley, this precision was particularly important. The thymus gland is close to the recurrent laryngeal nerve, which sends signals to the larynx or voice box, and the phrenic nerves, which help to control the diaphragm. Studies suggest that up to 5 per cent of people having thymectomies – operations to remove the thymus – end up with permanent damage to these nerves, which can cause paralysis or weakness of the vocal cords. But robotic surgery makes this less likely, Mr Patrini says. Mr Wilson, who is overseeing Lesley's ongoing care, explains: 'Lots of patients in my clinic end up with a paralysed diaphragm on one side, but for Lesley to sing she needs both sides to be working properly, otherwise she would have lost a significant proportion of her singing capacity.' Lesley says the team were 'extremely careful' to explain any possible side-effects. 'I couldn't bring myself to face the possibility that I'd never sing again – the idea was so terrifying I couldn't let myself even go there. I had no choice but to put my faith in the doctors. 'I knew they were fantastically capable, but I did say to them, 'You will just steer clear of those nerves, won't you dears, because I do want to have a voice.' 'I made light of it, although the anaesthetist looked pretty shocked when he realised it was me they'd be operating on. 'But I trusted the team, and the robot was just the most incredible kit I've seen in my life. I felt really privileged to have that expertise at my disposal.' The surgery took place on March 1 last year – the day after Lesley finished a stint playing Berta in English National Opera's production of Rossini's The Barber Of Seville. The two-hour operation was carried out by Kunal Bhakhri, a specialist in robotic thoracic surgery at University College Hospital, and involved deflating her right lung to allow better access into the chest cavity. Three small incisions were made, and the instruments were inserted through the rib cage without damaging the ribs. One robotic arm cut around the tumour and the gland, while another placed it into a surgical bag before removing it from the body to avoid 'seeding' any cancer cells along the way. 'I was kept in overnight, but I was out the following morning,' says Lesley. 'I was back up and singing around the house in a couple of days. It was amazing.' Tests revealed the tumour had grown and breached the thin membrane around the thymus, making it a stage-two cancer. But the surgery had successfully removed all of it, which meant Lesley did not need to have any further radiotherapy or chemotherapy. Instead, she must have follow-up scans every six months, which will be reduced to once a year, for the next ten to 15 years to make sure it does not come back. These will also keep an eye on Lesley's enlarged aorta, which was also picked up when her thymoma was diagnosed. In the meantime, she'll be performing alongside Russell Watson at the Proms In The Park in Bedford on July 6. 'I can't wait to get up there and give it my all,' she says. 'I received, and continue to receive, such fantastic care from the team at University College Hospital, and if talking about it helps to make this apparently rather unusual cancer better understood, then it's my duty and privilege to do that.'
