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Little Shop of Horrors (film)
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Little Shop of Horrors
Theatrical release poster
Directed by
Frank Oz
Produced by
David Geffen
Screenplay by
Howard Ashman
Based on
Little Shop of Horrors by Alan Menken and Howard Ashman
The Little Shop of Horrors by Roger Corman
Starring
Rick Moranis
Ellen Greene
Vincent Gardenia
Steve Martin
Jim Belushi
John Candy
Christopher Guest
Bill Murray
Narrated by
Stanley Jones
Music by
Miles Goodman
Cinematography
Robert Paynter
Edited by
John Jympson
Production
company
The Geffen Company
Distributed by
Warner Bros.
Release date
December 19, 1986 (1986-12-19)
Running time
94 minutes
(Theatrical Cut)[1]
103 minutes
(Director's Cut)
Country
United States
Language
English
Budget
$25 million
Box office
$38.7 million
Little Shop of Horrors is a 1986 American rock musical horror comedy film directed by Frank Oz. It is a film adaptation of the off-Broadway musical comedy of the same name by composer Alan Menken and writer Howard Ashman about a geeky florist shop worker who finds out his venus fly trap can speak. Menken and Ashman's Off-Broadway musical was based on the low-budget 1960 film The Little Shop of Horrors, directed by Roger Corman. The 1986 film stars Rick Moranis, Ellen Greene, Vincent Gardenia, Steve Martin, and Levi Stubbs as the voice of Audrey II. The film also featured special appearances by Jim Belushi, John Candy, Christopher Guest, and Bill Murray. It was produced by David Geffen through The Geffen Company and released by Warner Bros. on December 19, 1986.
Little Shop of Horrors was filmed on the Albert R. Broccoli 007 Stage at the Pinewood Studios in England, where a "downtown" set, complete with overhead train track, was constructed. The film was produced on a budget of $25 million, in contrast to the original 1960 film, which, according to Corman, only cost $30,000.[2] The film's original 23-minute finale, based on the musical's ending, was rewritten and reshot after audiences at the preview screenings did not react positively to it.[3] For years only available as black-and-white workprint footage, the original ending was fully restored in 2012 by Warner Home Video.
Contents
[hide]
1 Plot
1.1 Original ending
2 Cast
3 Musical numbers
4 Production
4.1 Development
4.2 Casting
4.3 Filming
4.4 Operating the plant
4.5 The finale
5 Release
5.1 Box office
5.2 Critical reception
5.3 Accolades
5.4 Home media
6 See also
7 References
8 External links
Plot[edit]
A three-girl "Greek chorus"—Crystal, Ronnette, and Chiffon—introduce the movie, warning the audience that some horror is coming their way ("Prologue: Little Shop of Horrors"). Seymour Krelborn (Rick Moranis) and his colleague, Audrey (Ellen Greene), work at Mushnik's Flower Shop in a run-down, rough neighborhood referred to as "Skid Row" in the slums of New York City. They lament that they cannot escape the neighborhood ("Skid Row" (Downtown)"). Struggling from a lack of customers, Mr. Mushnik (Vincent Gardenia) decides to close the store, but Audrey suggests he may have more success by displaying an unusual plant that Seymour owns. Immediately attracting a customer, Seymour explains he bought the plant, which he dubbed "Audrey II", from a Chinese flower shop during a solar eclipse ("Da-Doo"). Attracting business to Mushnik's shop, the plant soon starts dying, worrying Seymour. Accidentally pricking his finger, he then discovers Audrey II needs human blood to thrive ("Grow for Me").
Seymour takes Audrey II and is interviewed on the radio, and Audrey misses the broadcast due to being "hand-cuffed a little" by her sadistic, mean-spirited boyfriend Orin Scrivello (Steve Martin). The three girls suggest Audrey dump Orin and get another man to protect her, like Seymour, but Audrey states she doesn't deserve a nice guy. Despite this, Audrey has feelings for Seymour and secretly dreams of running off with him to the suburbs ("Somewhere That's Green"). Audrey II continues to grow rapidly and Seymour becomes a local celebrity ("Some Fun Now"). Seymour soon attempts to ask Audrey out, but she turns him down because she has a date with her boyfriend, revealed to be a dentist ("Dentist!"). After Seymour closes up shop, Audrey II begins to talk to Seymour, demanding more blood than Seymour can give. The plant proposes that Seymour murder someone in exchange for fame and fortune: Seymour initially refuses, but agrees after witnessing Orin beating Audrey ("Feed Me (Get It)").
After Orin finishes with his masochistic patient, Arthur Denton (Bill Murray), who requested "a long, slow, root canal", Seymour books an appointment with Orin and arms himself with a revolver; however, he cannot bring himself to use it. Orin, who abuses nitrous oxide, puts on a type of venturi mask to receive a constant flow of the gas. Accidentally breaking an intake valve and unable to remove the mask, Orin begs Seymour for help removing it, but Seymour does nothing. When Orin asks Seymour what he ever did to him, Seymour coldly replies, "Nothing, it's what you did to her." Orin dies from asphyxiation and Seymour drags his body back to Audrey II. While dismembering the body to feed to the plant, Seymour is unknowingly witnessed by Mushnik, who flees in fear.
After feeding Orin's parts to Audrey II, which has grown to enormous size, Seymour discovers the police investigating Orin's disappearance. Audrey, feeling guilty about wishing Orin would disappear, is comforted by Seymour and the two admit their feelings for each other ("Suddenly, Seymour"). That night, Mushnik confronts Seymour about what he saw and holds Seymour at gunpoint, threatening to report him to the police. Mushnik then changes his mind, saying that since Seymour was "like a son" to him, he'll allow Seymour to leave town, leaving the plant to Mushnik. With no choice, Seymour steadily backs him towards the plant, which swallows Mushnik whole ("Suppertime").
Despite widespread success, Seymour worries about Audrey II's growth and unbridled appetite ("The Meek Shall Inherit"). Offered money and a contract for a botany TV show, Seymour plans to escape Skid Row with Audrey using the money, leaving the plant to starve. After Audrey accepts Seymour's marriage proposal, Audrey II catches Seymour leaving and demands another meal: Seymour agrees, but insists on meat from a butcher. While Seymour is gone, the plant telephones Audrey, coaxes her into the shop, and then tries to eat her. Seymour, returning in time to save Audrey, escapes the store with her. Explaining that he fed the plant to become successful and win Audrey's heart, Seymour discovers she has always loved him. Approached by an executive from a botanical company named Patrick Martin (Jim Belushi), Seymour is offered a contract to breed Audrey II and sell the saplings worldwide. Horrified by the idea, Seymour drives Martin away, and realizes he must destroy Audrey II for the sake of humanity.
Returning to the shop, Seymour learns that Audrey II is actually an alien from outer space ("Mean Green Mother from Outer Space"). Audrey II traps Seymour and destroys the shop, but Seymour grabs an exposed electrical cable and electrocutes Audrey II. Leaving the destroyed shop, Seymour safely reunites with Audrey. The two wed and move to the suburbs: arriving at their new home, which is the one seen in Audrey's daydreams, a smiling Audrey II bud can be seen among the flowers in their front yard.
Original ending[edit]
During production, director Oz shot a 23-minute ending based on the off-Broadway musical's ending. However, after audiences at the preview screenings did not react positively to it, the ending had to be rewritten and re-shot for the theatrical release with a "happier ending."[3]
In the original ending, when Audrey is attacked by the plant, Seymour pulls her from its jaws but is too late to save her, as she is mortally wounded. As she is dying she tells him what the plant said about Orin and Mushnik, and then Seymour confesses that he fed them to the plant. Audrey requests that Seymour feed her to the plant too so that it will live and Seymour can earn the success he deserves ("Somewhere That's Green (Reprise)"). After fulfilling her dying wish, he attempts suicide by jumping off the roof of a building, only to be stopped by Patrick Martin. Martin offers to reproduce and sell Audrey IIs and has already grown a smaller Audrey II from one of the clippings that he harvested earlier. He also warns Seymour that his consent isn't necessary, as plants are considered to be in the public domain. Realizing Audrey II is planning global domination, Seymour climbs down from the roof with the resolution to destroy the plant. Returning to the shop, he confronts and tries to kill Audrey II, who tears down the shop, fishes him from the rubble and eats him alive. The plant then spits out Seymour's glasses and laughs victoriously ("Mean Green Mother from Outer Space)".
The three chorus girls appear in front of a large American flag and tell how although Audrey II buds became a worldwide consumer craze, the buds grew into an army of monstrous plants who begin to take over the Earth.[4] Giant Audrey II plants are shown destroying cities, toppling buildings, as well as eating people. The United States Army attempts to fight the buds as they ascend the Statue of Liberty and Audrey II eventually bursts through the movie screen and presumably eats the viewers ("Finale (Don't Feed The Plants)").
Cast[edit]
Rick Moranis as Seymour Krelborn, a nerdy florist who loves "strange and interesting" plants. He is nice and well-intentioned, but is easily influenced: the plant, Audrey II, tricks him into feeding it humans.
Ellen Greene as Audrey, a kind, shy, friendly, and awkward coworker who is the object of Seymour's affections, but who is dating the sadistic Orin Scrivello.
Vincent Gardenia as Mr. Mushnik, the grumpy, stingy owner of Mushnik's Flower Shop.
Steve Martin as Orin Scrivello, DDS, a sadistic, nitrous oxide-addicted dentist and Audrey's violent, abusive boyfriend.
Levi Stubbs as the voice of Audrey II, an evil and boisterous flytrap-like extraterrestrial plant with plans to take over the planet.
Tichina Arnold, Michelle Weeks, and Tisha Campbell as Crystal, Ronette, and Chiffon, the three mysterious girls who act as a Greek chorus and often provide back-up to the songs throughout the film.
Jim Belushi as Patrick Martin, a Licensing and Marketing executive from World Botanical Enterprises who offers Seymour a proposal to sell Audrey IIs worldwide. Belushi appears in the theatrical release after re-shoots, as actor Paul Dooley (who played Martin in the original ending) was unavailable to reprise his scenes.
John Candy as Wink Wilkinson, the DJ for WSKID who puts on a radio show about "weird stuff" called "Wink Wilkinson's Weird World".
Christopher Guest as The First Customer, the first customer to enter the flower shop and notice Audrey II.
Bill Murray as Arthur Denton, a hyperactive masochist who visits Orin the dentist for "a long, slow root canal."
Miriam Margolyes as a Dental Nurse, Orin's cynical nurse/secretary who Orin frequently appears to enjoy hurting.
Stanley Jones as the Narrator, whose voice is heard reading the opening words.
Mak Wilson, Danny John-Jules, Danny Cunningham, Gary Palmer, and Paul Swaby as the doo-wop backup singers.
Jim Henson's daughter Heather Henson cameos as one of Orin's patients.
Vincent Wong as the Chinese Florist
Kerry Shale as Life magazine assistant
Audrey II was operated by John Alexander, Anthony Asbury, Don Austen, David Barclay, Michael Barclay, James Barton, Michael Bayliss, Marcus Clarke, Sue Dacre, Graham Fletcher, Brian Henson, Terry Lee, Christopher Leith, Toby Philpott, Mike Quinn, Paul Springer, William Todd-Jones, Ian Tregonnian, Robert Tygner, and Mak Wilson.
Musical numbers[edit]
"Prologue: Little Shop of Horrors"– Chiffon, Ronette, Crystal
"Skid Row (Downtown)"– Seymour, Audrey, Mushnik, Chiffon, Ronette, Crystal, Company
"Da-Doo"– Seymour, Chiffon, Ronette, Crystal
"Grow for Me"– Seymour, Chiffon, Ronette, Crystal (off-screen)
"Somewhere That's Green"– Audrey
"Some Fun Now"– Chiffon, Ronette, Crystal
"Dentist!"– Orin, Chiffon, Ronette, Crystal
"Feed Me (Git It)"– Audrey II, Seymour
"Suddenly, Seymour"– Seymour, Audrey, Chiffon, Ronette, Crystal
"Suppertime"– Audrey II, Chiffon, Ronette, Crystal
"The Meek Shall Inherit"– Chiffon, Ronette, Crystal, Company
"Suppertime (Reprise)"– Audrey II, Audrey, Chiffon, Ronette and Crystal (off screen)
"Suddenly, Seymour (Reprise)"– Audrey, Seymour
"Mean Green Mother from Outer Space"– Audrey II, the Pods
"Little Shop of Horrors medley" (end credits)– Company
Original ending
"Somewhere That's Green (Reprise)"– Audrey, Seymour
"Mean Green Mother from Outer Space"– Audrey II, the Pods
"Finale (Don't Feed the Plants)"– Chiffon, Ronette, Crystal, Company
Production[edit]
Development[edit]
David Geffen was one of the original producers of the off-Broadway show and he began planning to produce a feature film adaptation. He originally wanted Steven Spielberg to executive produce the film and Martin Scorsese to direct. Scorsese wanted to shoot the film in 3-D, but plans fell through and Scorsese's first 3-D film would be Hugo 25 years later.[citation needed] John Landis was also attached to the project for a time. [5]
Geffen then offered the film to Frank Oz, who was finishing work on The Muppets Take Manhattan around the same time. Oz initially rejected it, but he later had an idea that got him into the cinematic aspect of the project, which he did not figure out before. Oz spent a month and a half to restructure the script which he felt was stage-bound. Geffen and Ashman liked what he had written and decided to go with what he did. Oz was also studying the Off-Broadway show and how it was thematically constructed, all in order to reconstruct it for a feature film.[3]
The film differs only slightly from the stage play. The title song is expanded to include an additional verse to allow for more opening credits.[citation needed] The song "Ya Never Know" was re-written into a calypso-style song called "Some Fun Now", although some of the lyrics were retained.[citation needed] Four other songs ("Closed for Renovation", "Mushnik and Son", "Now (It's Just the Gas)", as well as "Call Back in the Morning") were cut from the original production score. An original song written by Ashman and Menken, "Mean Green Mother from Outer Space", was created for the film.
Casting[edit]
Greene was not the first choice for the role of Audrey. The studio wanted Cyndi Lauper, who turned it down. Barbra Streisand was also rumored to have been offered the part. Since Greene was the original off-Broadway Audrey, the role was given to her. "She's amazing," Oz said. "I couldn't imagine any other Audrey, really. She nailed that part for years off-Broadway."[3] The character of the masochistic dental patient, Arthur Denton, played in the original film by Jack Nicholson under the name "Wilbur Force", and cut from the stage version, was added back to the story and played by Bill Murray, who improvised all of his dialogue. It supposedly took Steve Martin six weeks to film all his scenes as Orin. He contributed ideas such as socking the nurse in the face (originally he was to knock her out using his gas mask) and ripping off the doll head.
Filming[edit]
All the scenes were filmed at Pinewood Studios in England, making use of every sound stage there, including the 007 Stage. Oz and his crew did not want to shoot on location as it would tamper with the fantastical mood of the film. Part of the giant 007 stage was used to film the 'Suddenly Seymour' number. But because of its size, the stage was impractical to heat properly and thus caused breath condensation to appear from the actor's lips. This was countered by having Ellen Greene and Rick Moranis put ice cubes in their mouths. This would be the first time Moranis and Martin starred in a film together, and they would later appear together in three more films: Parenthood, My Blue Heaven and L.A. Story.
As mentioned, additional sequences and songs from the original off-Broadway show were dropped or re-written in order for the feature version to be paced well. The notable change was for the "Meek Shall Inherit" sequence. As originally filmed, it detailed through a dream sequence Seymour's rising success and the need to keep the plant fed and impress Audrey. In the final cut, the dream sequence and much of the song is cut out. Oz said, "I cut that because I felt it just didn't work and that was before the first preview in San Jose. It was the right choice, it didn't really add value to the entire cut."[3] The full version of the song was included on the film's soundtrack album, as were the songs from the original ending. The sequence was deemed to be lost until in 2012 when it was rediscovered on a VHS workprint that contained alternate and extended takes and sequences.[6]
Operating the plant[edit]
The film's version of Audrey II was an extremely elaborate creation, using puppets designed by Lyle Conway.
While developing the mouth of the plant for the dialogue scenes and musical numbers, Oz, Conway and his crew were struggling to figure out how to make the plant move convincingly. "We kept trying and trying and it didn't work."[7] The solution presented itself while reviewing test footage of the puppet. When the film was run backwards or forward at a faster than normal speed, the footage looked much more convincing and lifelike. They realized they could film the puppet at a slower speed, making it appear to move faster when played back at normal speed. "By slowing it down it looked it was talking real fast. We then went 'holy cow, look at that. We can do it.'"[7] The frame rate for filming the plant was slowed to 12 or 16 frames per second, depending on the scene, and frequent screen cuts were used to minimize the amount of screen time the puppet spent with human actors, and when interaction was totally necessary, the actors (usually Moranis) would pantomime and lip sync in slow motion.[7] The film was then sped up to the normal 24 frames per second and voices were reinserted in post-production. Levi Stubbs' recordings were run through a harmonizer when slowed down so that they were coherent for Moranis or Ellen Greene.
There are no blue screens or opticals involved in any of Audrey II's scenes, with the exception of the reshot ending where the plant is electrocuted, designed by Visual Effects supervisor Bran Ferren, and in some shots during the rampage in the original ending. The plant was made in six different stages of growth and there were three different versions of Mushnik's shop, making it possible for two units to work with different sized plants at the same time. Each of the talking plants had to be cleaned, re-painted and patched up at the end of each shooting day, which would take up to three hours depending on the size. The "Suppertime" number uses two different sizes of Audrey II. When the plant is singing all alone in the shop, it is actually a smaller size: the same size as when it sang "Feed Me", but now standing on a scaled down set to make it look larger. The full size one that is seen to interact with Seymour and Mushnik was not provided with lip movement, but was built to swallow Mushnik's (mechanical) legs. During Audrey II's final stage of growth, 60 technicians were necessary to operate the one-ton puppet.[8]
The finale[edit]
Audrey II on top of the Statue of Liberty in the film's planned ending, shown here in its unfinished state as taken from an early-stage black-and-white workprint. The visual effects were completed for the Director's Cut of the film.
Oz and Ashman wanted to retain the ending of the musical where Seymour and Audrey die and the plant succeeds and takes over the city of New York, but Geffen was actually against it. "He said you can't do that," Oz recounts. "But again he knew what Howard and I wanted to do, so he supported us."[3] A special effects team skilled in working with miniatures, and Special Visual Effects team, went to great lengths to create the finale. The model department was supervised by Richard Conway, known for his model work on Flash Gordon and Brazil. "It was all model stuff, that was the brilliant thing. He created the bridge, the buildings, several Audrey IIs and created all of it, all on tabletop. It's all old-fashioned, tabletop animation"[3] [although no stop motion animation was used in the film or in the ending]. The Visual Effects work was supervised by Bran Ferren (Altered States).
Reportedly the entire planned climax cost about $5 million to produce, and included elaborate special and visual effects.[citation needed] Oz said in an interview, "this was, I think, the most expensive film Warner Bros. had done at the time."[3] As the film was nearing completion, the excited studio set up a test screening in San Jose. Oz said, "For every musical number, there was applause, they loved it, it was just fantastic... until Rick and Ellen died, and then the theatre became a refrigerator, an ice box. It was awful and the cards were just awful. You have to have a 55 percent "recommend" to really be released and we got a 13. It was a complete disaster." Oz insisted on setting another test screening in L.A. to see if they would get a different reaction. Geffen agreed to this, but they received the same negative reaction as before.[3] Oz later recounted, "I learned a lesson: in a stage play, you kill the leads and they come out for a bow—in a movie, they don't come out for a bow, they're dead. They're gone and so the audience lost the people they loved, as opposed to the theater audience where they knew the two people who played Audrey and Seymour were still alive. They loved those people, and they hated us for it."[9]
Oz and Ashman scrapped Audrey and Seymour's grim deaths and the finale rampage, and Ashman rewrote a happier ending, with Jim Belushi replacing Paul Dooley (who was unavailable for the re-shoot) as Patrick Martin. The musical number "Mean Green Mother from Outer Space" was left mostly intact from the original cut, with new shots of Audrey observing from a window added in. A brief sequence from the "Mean Green Mother" number was also removed in which Seymour fires his revolver at Audrey II, only to discover that the bullets ricochet harmlessly off of the plant. In the happy ending, Audrey II is destroyed and Seymour, Audrey, and humanity survive. This happy ending is made somewhat ambiguous, however, with a final shot of a smiling Audrey II bud in Seymour and Audrey's front yard. Tisha Campbell was unavailable for the final appearance of the chorus girls in the yard and was replaced with a lookalike seen only from the waist down.[7]
"We had to do it," Oz recounted. "[and do it] in such a manner that the audience would enjoy the movie. It was very dissatisfying for both of us that we couldn't do what we wanted. So creatively, no, it didn't satisfy us and being true to the story. But we also understood the realities that they couldn't release the movie if we had that ending."[3] "We had to take [the workprint] apart, and we never made a dupe of [the original ending]." At the time, the only copies of it that were made to be viewed were VHS workprint tapes given to few crew members.[10] The scene in which Seymour proposes to Audrey originally contained the reprise of "Suddenly, Seymour". This scene was re-shot and the reprise was placed later in the new ending.[7] In the final theatrical cut, the only miniatures that are retained are the New York City streets passing behind Steve Martin's motorcycle ride at the beginning of "Dentist!"[7] "When we did re-shoot the ending, the crowd reaction went over 50 percent in our favor. Before it was a point where they hated it so much, Warner probably wouldn't even release the movie," Oz said.[10]
Release[edit]
Box office[edit]
Little Shop of Horrors, after a delay needed to complete the revised ending, was released on December 19, 1986 and was anticipated to do strong business over the 1986 holiday season.[11] The film grossed $38 million at the box office,[12] which, from the view point of the studio, was considered an underperformer. However, it became a smash hit upon its home video release in 1987 on VHS and Beta.
Critical reception[edit]
Rotten Tomatoes retrospectively collected reviews to give it a score of 90% based on reviews from 48 critics, the general consensus states: "Remixing Roger Corman's B-movie by way of the Off-Broadway musical, Little Shop of Horrors offers camp, horror and catchy tunes in equal measure—plus some inspired cameos by the likes of Steve Martin and Bill Murray."[13] On Metacritic, which uses an average of critics' reviews, the film has an 81% rating based on 15 reviews, indicating "universal acclaim" (14 positive reviews, 1 mixed, and no negative).[14] Richard Corliss of Time magazine said, "You can try not liking this adaptation of the Off-Broadway musical hit -- it has no polish and a pushy way with a gag -- but the movie sneaks up on you, about as subtly as Audrey II."[15]
In The New York Times, Janet Maslin called it "a full-blown movie musical, and quite a winning one".[16] Roger Ebert said in his review: "All of the wonders of Little Shop of Horrors are accomplished with an offhand, casual charm. This is the kind of movie that cults are made of, and after Little Shop finishes its first run, I wouldn't be at all surprised to see it develop as one of those movies that fans want to include in their lives".[17] Oz's friend and Muppet colleague Jim Henson praised the film and said "the lip sync on the plant in that film is just absolutely amazing".[10]
Accolades[edit]
The film was also nominated for two Academy Awards, one for Best Visual Effects (Lyle Conway, Bran Ferren, Martin Gutteridge), the other for Best Original Song (Alan Menken, Howard Ashman) for Audrey II's new number, "Mean Green Mother from Outer Space". "Mean Green" was the first Oscar-nominated song to contain profanity in the lyrics and thus had to be slightly censored for the show. It's also the first of only two songs sung by a villain to be nominated, the other being "Blame Canada" from South Park: Bigger, Longer & Uncut. It lost to "Take My Breath Away" from Top Gun. It was also nominated for Best Motion Picture - Comedy/Musical (it lost to Hannah and Her Sisters) and Best Original Score (Miles Goodman) during the 44th Golden Globe Awards. The Score went to Ennio Morricone for The Mission.
Home media[edit]
Little Shop of Horrors was the first DVD to be recalled for content.[4] In 1998, Warner Bros. released a special edition DVD that contained approximately 23 minutes of unfinished footage from Oz's original ending, although it was in black and white and was missing some sound, visual, and special effects.[citation needed] Producer and rights owner David Geffen was not aware of this release until it made it to the stores. Geffen said, "They put out a black-and-white, un-scored, un-dubbed video copy of the original ending that looked like shit." As a result, the studio removed it from shelves in a matter of days and replaced it with a second edition that did not contain the extra material. Geffen wanted to re-release the film to theaters with the original ending intact.[18] Geffen also claimed to have a color copy of the original ending, while the studio had lower quality, black and white duplicates as their own color print was destroyed in a studio fire years earlier. But Geffen had not known, until after the DVD was pulled, that the studio did not know there was a colored copy of the original ending in existence.[3]
In November 2011, Oz held a Q&A session at the Museum of the Moving Image in Astoria, Queens during a Henson themed exhibit. During the talk, he announced that the film would be released as a new special edition with the original ending restored.[19] Warner Bros. reconstructed and restored the ending in an alternate edit, with re-discovered color negatives of the sequence and the help of production notes from Frank Oz and others on the film's creative team. It was released on Blu-ray and DVD on October 9, 2012 with features returning from the original DVD.[20] It was initially subtitled as "The Intended Cut",[21] but changed to "The Director's Cut" once Oz began to support the release. The new edit was screened at the 50th New York Film Festival in the "Masterwork" line-up on September 29, 2012, alongside titles such as Laurence Olivier's Richard III and Heaven's Gate.[22] Frank Oz worried that the audience would give a negative reaction at the 2012 screening, however, "the audience accepted Audrey and Seymour's deaths with applause and roared in glee during the plant rampage," says Oz.
See also[edit]
List of films featuring eclipses
References[edit]
Jump up ^ "LITTLE SHOP OF HORRORS (PG)". Columbia-Cannon-Warner. British Board of Film Classification. January 27, 1987. Retrieved March 23, 2014.
Jump up ^ "Roger Corman interview". Archived from the original on January 4, 2010. Retrieved March 11, 2007.
^ Jump up to: a b c d e f g h i j k "Frank Oz: Muppets maestro discusses 'Little Shop of Horrors' and the remaking of his classics". Entertainment Weekly. May 15, 2012. Retrieved 2016-05-30.
^ Jump up to: a b "Little Shop of Reshoots". DVD Savant. November 20, 1999. Retrieved 2007-03-11.
Jump up ^ "Interview with Howard Ashman". Unknown Baltimore Publication. 1984. Retrieved 2017-04-11.
Jump up ^ "Little Shop - Deleted Scenes FOUND". Justn Hoskie. Archived from the original on August 12, 2016. Retrieved August 27, 2013.
^ Jump up to: a b c d e f Frank Oz DVD commentary, Little Shop of Horrors (2000).
Jump up ^ James Berardinelli. Review, Little Shop of Horrors, Reelviews.net, 1999.
Jump up ^ "Frank Oz Interview".
^ Jump up to: a b c "An Evening with Jim Henson and Frank Oz". Aleza Makayla on YouTube. 2013-01-04. Retrieved 2013-08-27.
Jump up ^ Mathews, Jack (December 24, 1986). "'Kong Lives' Dies At Box Office". Los Angeles Times. Retrieved 2012-06-10.
Jump up ^ "Little Shop of Horrors (1986)". Box Office Mojo. Retrieved 2012-07-05.
Jump up ^ Little Shop of Horrors at Rotten Tomatoes
Jump up ^ Little Shop of Horrors at Metacritic
Jump up ^ "Cinema: Green and Red for Christmas". Time Magazine. 1986-12-29. Retrieved 2013-08-27.
Jump up ^ "The Screen: 'Little Shop of Horrors'". The New York Times. 1986-12-19. Retrieved 2013-08-27.
Jump up ^ ""Little Shop of Horrors" by Roger Ebert". Chicago Sun-Times. 1986-12-19. Retrieved 2013-08-27.
Jump up ^ Willman, Chris (March 6, 1998). "Horror of 'Horrors'!". Entertainment Weekly.
Jump up ^ Ryan Dosier (2011-11-01). "The Muppet Mindset: Frank Oz Visits The Museum of Moving Image". Themuppetmindset.blogspot.com. Retrieved 2012-07-05.
Jump up ^ "'Little Shop of Horrors' Makes Blu-ray Debut". Home Media Magazine. 2012-06-12. Retrieved 2012-07-05.
Jump up ^ Latest MPAA Ratings Bulletin No. 2205 by Brad Brevet January 12 2012
Jump up ^ Little Shop Movie to Screen at New York Film Festival with Original Violent Ending
External links[edit]
Wikiquote has quotations related to: Little Shop of Horrors (1986 film)
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Little Shop of Horrors
Films
The Little Shop of Horrors (1960)
Little Shop of Horrors (1986)
Musicals
Little Shop of Horrors (1982)
Television
Little Shop (1991)
[show]
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Films directed by Frank Oz
The Dark Crystal (1982)
The Muppets Take Manhattan (1984)
Little Shop of Horrors (1986)
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Siren (mythology)
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This article is about the mythological creatures. For other uses, see Siren.
Siren
Attic funerary statue of a Siren, playing on a tortoiseshell lyre, c. 370 BC
Grouping
Mythological
Similar creatures
Mermaid
Harpy
Undine
Mythology
Greek
Country
Greece
Habitat
Seagirt meadow
In Greek mythology, the Sirens (Greek singular: Σειρήν Seirēn; Greek plural: Σειρῆνες Seirēnes) were dangerous creatures, who lured nearby sailors with their enchanting music and voices to shipwreck on the rocky coast of their island. Roman poets placed them on some small islands called Sirenum scopuli. In some later, rationalized traditions, the literal geography of the "flowery" island of Anthemoessa, or Anthemusa,[1] is fixed: sometimes on Cape Pelorum and at others in the islands known as the Sirenuse, near Paestum, or in Capreae.[2] All such locations were surrounded by cliffs and rocks.
Contents
[hide]
1 Etymology
2 Appearance
3 Family
4 List of Sirens
5 Mythology
5.1 Demeter
5.2 Muses
5.3 Argonautica
5.4 Odyssey
6 Sirens and death
7 Christian belief and modern reception
8 See also
9 References
10 Bibliography
11 Further reading
12 External links
Etymology[edit]
Archaic perfume vase in the shape of Siren, c. 540 BC
The etymology of the name is at present contested. Robert S. P. Beekes has suggested a Pre-Greek origin.[3] Others connect the name to σειρά (seirá "rope, cord") and εἴρω (eírō "to tie, join, fasten"), resulting in the meaning "binder, entangler",[4] i. e. one who binds or entangles through magic song. This could be connected to the famous scene of Odysseus being bound to the mast of his ship, in order to resist their song.[5]
Appearance[edit]
Moaning siren statuette from Myrina, first century BC
Sirens were believed to combine women and birds in various ways. In early Greek art, Sirens were represented as birds with large women's heads, bird feathers and scaly feet. Later, they were represented as female figures with the legs of birds, with or without wings, playing a variety of musical instruments, especially harps. The tenth-century Byzantine encyclopedia Suda says that from their chests up Sirens had the form of sparrows, below they were women, or, alternatively, that they were little birds with women's faces.[6] Birds were chosen because of their beautiful voices. Later Sirens were sometimes depicted as beautiful women, whose bodies, not only their voices, are seductive.
Originally, the Sirens were shown to be male or female. But, the male siren disappeared from art around fifth century BCE. [7]
The first-century Roman historian Pliny the Elder discounted Sirens as pure fable, "although Dinon, the father of Clearchus, a celebrated writer, asserts that they exist in India, and that they charm men by their song, and, having first lulled them to sleep, tear them to pieces."[8] In his notebooks Leonardo da Vinci wrote of the Siren, "The siren sings so sweetly that she lulls the mariners to sleep; then she climbs upon the ships and kills the sleeping mariners."
In 1917, Franz Kafka wrote in The Silence of the Sirens, "Now the Sirens have a still more fatal weapon than their song, namely their silence. And though admittedly such a thing never happened, it is still conceivable that someone might possibly have escaped from their singing; but from their silence certainly never."
Family[edit]
Odysseus and the Sirens, eponymous vase of the Siren Painter, c. 475 BC
Although a Sophocles fragment makes Phorcys their father,[9] when Sirens are named, they are usually as daughters of the river god Achelous,[10] with Terpsichore,[11] Melpomene, Calliope[12] or Sterope. In Euripides' play, Helen (167), Helen in her anguish calls upon "Winged maidens, daughters of the Earth (Chthon)." Although they lured mariners, the Greeks portrayed the Sirens in their "meadow starred with flowers" and not as sea deities. Roman writers linked the Sirens more closely to the sea, as daughters of Phorcys.[13] Sirens are found in many Greek stories, notably in Homer's Odyssey.
List of Sirens[edit]
The Siren of Canosa, statuette exposing psychopomp characteristics, late fourth century BC
Their number is variously reported as from two to five. In the Odyssey, Homer says nothing of their origin or names, but gives the number of the Sirens as two.[14] Later writers mention both their names and number: some state that there were three, Peisinoe, Aglaope, and Thelxiepeia (Tzetzes, ad Lycophron 7l2; Pseudo-Apollodorus, Bibliotheca E7. 18) or Parthenope, Ligeia, and Leucosia (Eustathius, loc. cit.; Strabo v. §246, 252; Servius' commentary on Virgil's Georgics iv. 562); Apollonius followed Hesiod gives their names as Thelxinoe, Molpe, and Aglaophonos (Scholiast on Homer's Odyssey 12. 168, trans. Evelyn-White); Suidas gives their names as Thelxiepeia, Peisinoe, and Ligeia (Suidas s.v. Seirenas); Hyginus gives the number of the Sirens as four: Teles, Raidne, Molpe, and Thelxiope (Fabulae, praefat. p. 30, ed. Bunte);[15] Eustathius (Commentaries §1709) states that they were two, Aglaopheme and Thelxiepeia; An ancient vase painting attests the two names as Himerope and Thelxiepeia. Their individual names are variously rendered in the later sources as Thelxiepeia/Thelxiope/Thelxinoe, Molpe, Himerope, Aglaophonos/Aglaope/Aglaopheme, Pisinoe/Peisinoë/Peisithoe, Parthenope, Ligeia, Leucosia, Raidne, and Teles.[16][17][18][19]
Aglaope (Αγλαόπη) or Aglaophonos (Αγλαόφωνος) or Aglaopheme (Αγλαοφήμη, all to be translated as "with lambent voice"),[20] attested as a daughter of Achelous and Melpomene.[21]
Leucosia (Λευκωσία): Her name was given to the island opposite to the Sirens' cape.[22] Her body was found on the shore of Poseidonia.[23]
Ligeia (Λιγεία): She was found ashore of Terina in Bruttium (modern Calabria).[24]
Molpe (Μολπή), another daughter of Achelous and Melpomene.[25]
Parthenope (Παρθενόπη): Her tomb was presented in Naples and called "constraction of sirens".[26]
Peisinoe (Πεισινόη) or Peisithoe (Πεισιθόη), daughter of Achelous and Melpomene.[21]
Thelxiope (Θελξιόπη) or Thelxiepeia (Θελξιέπεια "eye pleasing"), daughter of Achelous and Melpomene.[21][25]
COMPARATIVE TABLE OF NAMES AND PARENTAGE OF SIRENS ACCORDING TO VARIOUS SOURCES
Name/ Parentage
Hesiod
Homer
Sophocles
(Scholiast on) Apollonius
Lycophron
Strabo
Apollodorus
Hyginus
Servius
Eustathius
Suidas
Vase Painting
Parents not stated not stated Chthon Achelous and Terpsichore Achelous and Melpomene not stated Achelous and Melpomene or Sterope Achelous and Melpomene Achelous and Calliope not stated not stated not stated
Number 3 2 not stated 3 3 2 3 4 not stated 2 3 2
Thelxinoe or Thelxiope not stated Thelxinoe or Thelxiope Thelxiepia Thelxiepe Thelxiepeia Thelxiepeia Thelxiepeia
Names Aglaophonus Aglaophonus Aglaope Aglaopheme
Molpe Molpe Molpe
Parthenope Parthenope
Leucosia Leucosia
Ligeia Ligeia
Peisinoe or Pisinoe Pisinoe Peisinoe
Himerope
Mythology[edit]
Demeter[edit]
Odysseus And The Sirens, painting by Léon Belly, 1867
According to Ovid (43 BC–17 AD), the Sirens were the companions of young Persephone.[27] They were given wings by Demeter to search for Persephone when she was abducted. However, the Fabulae of Hyginus (64 BC–17 AD) has Demeter cursing the Sirens for failing to intervene in the abduction of Persephone. According to Hyginus, sirens were fated to live only until the mortals who heard their songs were able to pass by them.[28]
Muses[edit]
It is also said that Hera, queen of the gods, persuaded the Sirens to enter a singing contest with the Muses. The Muses won the competition and then plucked out all of the Sirens' feathers and made crowns out of them.[29] Out of their anguish from losing the competition, writes Stephanus of Byzantium, the Sirens turned white and fell into the sea at Aptera ("featherless"), where they formed the islands in the bay that were called Leukai ("the white ones", modern Souda).[30]
Argonautica[edit]
Odysseus and the Sirens, an 1891 painting by John William Waterhouse
In the Argonautica (third century BC), Jason had been warned by Chiron that Orpheus would be necessary in his journey.[31] When Orpheus heard their voices, he drew out his lyre and played his music more beautifully than they, drowning out their voices. One of the crew, however, the sharp-eared hero Butes, heard the song and leapt into the sea, but he was caught up and carried safely away by the goddess Aphrodite.
Odyssey[edit]
Odysseus was curious as to what the Sirens sang to him, and so, on the advice of Circe, he had all of his sailors plug their ears with beeswax and tie him to the mast. He ordered his men to leave him tied tightly to the mast, no matter how much he would beg. When he heard their beautiful song, he ordered the sailors to untie him but they bound him tighter. When they had passed out of earshot, Odysseus demonstrated with his frowns to be released.[32] Some post-Homeric authors state that the Sirens were fated to die if someone heard their singing and escaped them, and that after Odysseus passed by they therefore flung themselves into the water and perished.[33]
Sirens and death[edit]
Miniature illustration of a siren enticing sailors who try to resist her, from an English Bestiary, c. 1235
Odysseus and the Sirens, Roman mosaic, second century AD (Bardo National Museum)
Statues of Sirens in a funerary context are attested since the classical era, in mainland Greece, as well as Asia Minor and Magna Graecia. The so-called "Siren of Canosa" – Canosa di Puglia is a site in Apulia that was part of Magna Graecia – was said to accompany the dead among grave goods in a burial. She appeared to have some psychopomp characteristics, guiding the dead on the after-life journey. The cast terracotta figure bears traces of its original white pigment. The woman bears the feet, wings and tail of a bird. The sculpture is conserved in the National Archaeological Museum of Spain, in Madrid. The Sirens were called the Muses of the lower world, classical scholar Walter Copland Perry (1814–1911) observed: "Their song, though irresistibly sweet, was no less sad than sweet, and lapped both body and soul in a fatal lethargy, the forerunner of death and corruption."[34] Their song is continually calling on Persephone. The term "siren song" refers to an appeal that is hard to resist but that, if heeded, will lead to a bad conclusion. Later writers have implied that the Sirens were cannibals, based on Circe's description of them "lolling there in their meadow, round them heaps of corpses rotting away, rags of skin shriveling on their bones."[35] As linguist Jane Ellen Harrison (1850–1928) notes of "The Ker as siren": "It is strange and beautiful that Homer should make the Sirens appeal to the spirit, not to the flesh."[36] The siren song is a promise to Odysseus of mantic truths; with a false promise that he will live to tell them, they sing,
Once he hears to his heart's content, sails on, a wiser man.
We know all the pains that the Greeks and Trojans once endured
on the spreading plain of Troy when the gods willed it so—
all that comes to pass on the fertile earth, we know it all![37]
"They are mantic creatures like the Sphinx with whom they have much in common, knowing both the past and the future", Harrison observed. "Their song takes effect at midday, in a windless calm. The end of that song is death."[38] That the sailors' flesh is rotting away, suggests it has not been eaten. It has been suggested that, with their feathers stolen, their divine nature kept them alive, but unable to provide food for their visitors, who starved to death by refusing to leave.[39]
Christian belief and modern reception[edit]
The Siren, by John William Waterhouse, c. 1900, depicted as a fish-chimera
By the fourth century, when pagan beliefs were overtaken by Christianity, the belief in literal sirens was discouraged. Although Saint Jerome, who produced the Latin Vulgate version of the bible, used the word sirens to translate Hebrew tannīm ("jackals") in Isaiah 13:22, and also to translate a word for "owls" in Jeremiah 50:39, this was explained by Ambrose to be a mere symbol or allegory for worldly temptations, and not an endorsement of the Greek myth.[40]
The Siren, Edward Armitage, 1888
The Early Christian euhemerist interpretation of mythologized human beings received a long-lasting boost from Isidore's Etymologiae:
They [the Greeks] imagine that "there were three Sirens, part virgins, part birds," with wings and claws. "One of them sang, another played the flute, the third the lyre. They drew sailors, decoyed by song, to shipwreck. According to the truth, however, they were prostitutes who led travelers down to poverty and were said to impose shipwreck on them." They had wings and claws because Love flies and wounds. They are said to have stayed in the waves because a wave created Venus.[41]
Sirens continued to be used as a symbol for the dangerous temptation embodied by women regularly throughout Christian art of the medieval era; however, in the 17th century, some Jesuit writers began to assert their actual existence, including Cornelius a Lapide, who said of woman, "her glance is that of the fabled basilisk, her voice a siren's voice—with her voice she enchants, with her beauty she deprives of reason—voice and sight alike deal destruction and death."[42] Antonio de Lorea also argued for their existence, and Athanasius Kircher argued that compartments must have been built for them aboard Noah's Ark.[43]
Ulysses and the Sirens, by Herbert James Draper, c. 1909
Charles Burney expounded c. 1789, in A General History of Music: "The name, according to Bochart, who derives it from the Phoenician, implies a songstress. Hence it is probable, that in ancient times there may have been excellent singers, but of corrupt morals, on the coast of Sicily, who by seducing voyagers, gave rise to this fable."[44] John Lemprière in his Classical Dictionary (1827) wrote, "Some suppose that the Sirens were a number of lascivious women in Sicily, who prostituted themselves to strangers, and made them forget their pursuits while drowned in unlawful pleasures. The etymology of Bochart, who deduces the name from a Phoenician term denoting a songstress, favors the explanation given of the fable by Damm.[45] This distinguished critic makes the Sirens to have been excellent singers, and divesting the fables respecting them of all their terrific features, he supposes that by the charms of music and song they detained travellers, and made them altogether forgetful of their native land."[46]
The theme of perilous mythical female creatures seeking to seduce men with their beautiful singing is paralleled in the Danish medieval ballad known as "Elvehøj", in which the singers are elves. The ballad is also conserved in a Swedish version. A modern literary appropriation of the myth is to be seen in Clemens Brentano's Lore Lay ballad, published in his novel Godwi oder Das steinerne Bild der Mutter (1801).
See also[edit]
Banshee
Alkonost
Circe
Enchanted Moura
Harpy
Huldra
Iara (mythology)
Kelpie
Les Démoniaques
Lorelei
Melusine
Mermaid
Mermen
Merrow
Naiad
Nix
Nymph
Ondine (mythology)
Pincoya
Rusalka
Sihuanaba
Sirin
Slavic fairies
Syrenka
Trauco
Water sprite
List of avian humanoids
References[edit]
Jump up ^ "We must steer clear of the Sirens, their enchanting song, their meadow starred with flowers" is Robert Fagles' rendering of Odyssey 12.158–9.
Jump up ^ Strabo i. 22; Eustathius of Thessalonica's Homeric commentaries §1709; Servius I.e.
Jump up ^ Robert S. P. Beekes, Etymological Dictionary of Greek, Brill, 2009, p. 1316 f.
Jump up ^ Cf. the entry in the Wiktionary and the entry in the Online Etymology Dictionary.
Jump up ^ Homer, Odyssey, book 12.
Jump up ^ Suda on-line
Jump up ^ https://www.colorado.edu/classics/exhibits/GreekVases/essays/200637tsirens.htm
Jump up ^ Pliny the Elder, Natural History X, 70.
Jump up ^ Sophocles, fragment 861; Fowler, p. 31; Plutarch, Quaestiones Convivales - Symposiacs, Moralia
Jump up ^ Ovid XIV, 88.
Jump up ^ Nonnus. Dionysiaca 13.309
Jump up ^ Servius. Commentary on the Aeneid of Vergil, Book 5.864
Jump up ^ Virgil. V. 846
Jump up ^ Odyssey 12.52
Jump up ^ Apollodorus. Apollodorus: The Library, with an English Translation by Sir James George Frazer, F.B.A., F.R.S. in II Volumes, 1921.[1]
Jump up ^ Linda Phyllis Austern, Inna Naroditskaya, Music of the Sirens, Indiana University Press, 2006, p.18
Jump up ^ William Hansen, William F. Hansen, Classical Mythology: A Guide to the Mythical World of the Greeks and Romans, Oxford University Press, 2005, p.307
Jump up ^ Ken Dowden, Niall Livingstone, A Companion to Greek Mythology, Wiley-Blackwell, 2011, p.353
Jump up ^ Mike Dixon-Kennedy, Encyclopedia of Greco-Roman Mythology, ABC-Clio, 1998, p.281
Jump up ^ Hesiod, The Catalogue of Women 27.
^ Jump up to: a b c Pseudo-Apollodorus, Bibliotheca VII, 18.
Jump up ^ Strabo, Geographica VI, 1.1.
Jump up ^ Lycophron, Alexandra 720.
Jump up ^ Lycophron, Alexandra 724.
^ Jump up to: a b Hyginus, The myths, Introduction 30.
Jump up ^ Lycophron, Alexandra 716.
Jump up ^ Ovid, Metamorphoses V, 551.
Jump up ^ Pseudo-Hyginus, Fabulae 141 (trans. Grant).
Jump up ^ Lemprière 768.
Jump up ^ Caroline M. Galt, "A marble fragment at Mount Holyoke College from the Cretan city of Aptera", Art and Archaeology 6 (1920:150).
Jump up ^ Apollonius Rhodius, Argonautica IV, 891–919.
Jump up ^ Odyssey XII, 39.
Jump up ^ Hyginus, Fabulae 141; Lycophron, Alexandra 712 ff.
Jump up ^ Perry, "The sirens in ancient literature and art", in The Nineteenth Century, reprinted in Choice Literature: a monthly magazine (New York) 2 (September–December 1883:163).
Jump up ^ Odyssey 12.45–6, Fagles' translation.
Jump up ^ Harrison 198
Jump up ^ Odyssey 12.188–91, Fagles' translation.
Jump up ^ Harrison, 199.
Jump up ^ Liner notes to Fresh Aire VI by Jim Shey, Classics Department, University of Wisconsin
Jump up ^ Ambrose, Exposition of the Christian Faith, Book 3, chap. 1, 4.
Jump up ^ Grant, Robert McQueen (1999). Early Christians and Animals. London: Routledge, 120. Translation of Isidore, Etymologiae (c. 600–636 AD), Book 11, chap. 3 ("Portents"), 30.
Jump up ^ Longworth, T. Clifton, and Paul Tice (2003). A Survey of Sex & Celibracy in Religion. San Diego: The Book Tree, 61. Originally published as The Devil a Monk Would Be: A Survey of Sex & Celibacy in Religion (1945).
Jump up ^ Carlson, Patricia Ann (ed.) (1986). Literature and Lore of the Sea. Amsterdam: Editions Rodopi, 270.
Jump up ^ Austern, Linda Phyllis, and Inna Naroditskaya (eds.) (2006). Music of the Sirens. Bloomington, IN: University of Indiana Press, 72.
Jump up ^ Damm, perhaps Mythologie der Griechen und Römer (ed. Leveiow). Berlin, 1820.
Jump up ^ Lemprière 768. Brackets in the original.
Bibliography[edit]
Fowler, R. L. (2013), Early Greek Mythography: Volume 2: Commentary, Oxford University Press, 2013. ISBN 978-0198147411.
Harrison, Jane Ellen (1922) (3rd ed.) Prolegomena to the Study of Greek Religion. London: C.J. Clay and Sons.
Homer, The Odyssey
Lemprière, John (1827) (6th ed.). A Classical Dictionary;.... New York: Evert Duyckinck, Collins & Co., Collins & Hannay, G. & C. Carvill, and O. A. Roorbach.as mentioned in the scriptures
Sophocles, Fragments, Edited and translated by Hugh Lloyd-Jones, Loeb Classical Library No. 483. Cambridge, MA: Harvard University Press, 1996. ISBN 978-0-674-99532-1. Online version at Harvard University Press.
Further reading[edit]
Siegfried de Rachewiltz, De Sirenibus: An Inquiry into Sirens from Homer to Shakespeare, 1987: chs: "Some notes on posthomeric sirens; Christian sirens; Boccaccio's siren and her legacy; The Sirens' mirror; The siren as emblem the emblem as siren; Shakespeare's siren tears; brief survey of siren scholarship; the siren in folklore; bibliography"
"Siren's Lament", a story based around one writer's perception of sirens. Though most lore in the story does not match up with lore we associate with the wide onlook of sirens, it does contain useful information.
External links[edit]
Wikimedia Commons has media related to Sirens.
Theoi Project, Seirenes the Sirens in classical literature and art
The Suda (Byzantine Encyclopedia) on the Sirens
A Mythological Reference by G. Rodney Avant
Greece portal
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text:
Rolling Stone's 500 Greatest Albums of All Time
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For a similar list by NME, see NME's The 500 Greatest Albums of All Time.
Rolling Stone's "500 Greatest Albums of All Time" magazine cover
"The 500 Greatest Albums of All Time" is a 2003 special issue of American magazine Rolling Stone, and a related book published in 2005.[1] The lists presented were compiled based on votes from selected rock musicians, critics, and industry figures, and predominantly feature American and British music from the 1960s and the 1970s.
In 2012, Rolling Stone published a revised edition of the list drawing on the original and a later survey of albums in the 2000s.[2] It was made available in "bookazine" format on newsstands in the US from April 27 to July 25. The new list contained 38 albums not present in the previous one, 16 of them released after 2003.
Contents
[hide]
1 Background
2 List statistics
3 Reception
4 See also
5 References
6 External links
Background[edit]
The first version of the list, published as a magazine in November 2003, was based on the votes of 273 rock musicians, critics, and industry figures, each of whom submitted a weighted list of 50 albums. The accounting firm Ernst & Young devised a point system to weigh votes for 1,600 submitted titles. The list includes a few compilations, and "greatest hits" collections.[3]
The following authors contributed to the citations made of each album:
Pat Blashill
Anthony DeCurtis
Ben Edmonds
Gavin Edwards
Jenny Eliscu
David Fricke
Mark Kemp
Greg Kot
Joe Levy
Parke Puterbaugh
Austin Scaggs
Karen Schoemer
Bud Scoppa
Rob Sheffield
David Thigpen
Barry Walters
An amended list was released in book form in 2005, with an introduction written by Steven Van Zandt. As the editor's foreword explains, some compilation albums were removed, and Robert Johnson's The Complete Recordings was substituted for both of his King of the Delta Blues Singers volumes, making room for a total of eight new entries on the list. The Complete Recordings would be reinstated to the list in the 2012 edition.
List statistics[edit]
Number of albums from each of the decades
Decade
Number of albums
Percentage
1950s 10 2.0%
1960s 105 21.0%
1970s 186 37.2%
1980s 84 16.8%
1990s 73 14.6%
2000s 40 8.0%
2010s 2 0.4%
Artists with the most albums[4]
12 albums
John Lennon (two solo albums and ten with The Beatles)
11 albums
Paul McCartney (one with Wings and ten with The Beatles)
George Harrison (one solo album and ten with The Beatles)
Bob Dylan (ten solo albums and an additional album as Bob Dylan and the Band; two in the top 10 including the #9 and #4 spots)
10 albums
The Beatles (four in the top 10 including the #10, #5, #3, and #1 spots; an additional four from their solo careers, two from John Lennon, one from George Harrison, and one from Wings, give a total of 14 for the group)
The Rolling Stones (one in the top 10 at the #7 spot)
8 albums
Eric Clapton (two solo albums, three with Cream, one with Derek and the Dominos, one with the Yardbirds and one with John Mayall & the Bluesbreakers)
Bruce Springsteen
7 albums
The Who
Neil Young (three solo albums, two with Crazy Horse, one with Crosby, Stills, Nash & Young, and another with Buffalo Springfield)
6 albums
David Bowie
Elton John
Lou Reed (two solo albums, four with the Velvet Underground)
5 albums
Chris Hillman (four albums with the Byrds, one with the Flying Burrito Brothers)
David Crosby (three albums with the Byrds, two with Crosby, Stills & Nash)
Led Zeppelin
Bob Marley and the Wailers
Radiohead
Paul Simon (two solo albums, three with Simon and Garfunkel)
U2
Jerry Harrison (four albums with Talking Heads, one with Modern Lovers)
4 albums
The Byrds
Elvis Costello (one solo album, three with the Attractions)
Grateful Dead
James Brown
Pink Floyd
The Police
Prince
Roxy Music
Sly and the Family Stone
The Smiths
Stevie Wonder
Talking Heads
The Velvet Underground (one album with Nico)

3 albums
The Beach Boys
The Jimi Hendrix Experience
Big Star
Black Sabbath
The Clash
John Coltrane (two solo albums, one with Miles Davis)
Marvin Gaye
Nick Drake (in 2003 edition)
Michael Jackson
The Kinks
Madonna
Elvis Presley
Miles Davis
R.E.M.
Simon and Garfunkel
Steely Dan
Jay Z
Stephen Stills (two with Crosby, Stills, Nash & Young, one with Buffalo Springfield)
The Stooges
Al Green
The Doors
Tom Waits
Kanye West[5]
PJ Harvey
Eminem (in 2003 edition)
Nirvana
Randy Newman
Public Enemy (in 2003 edition)
Gram Parsons (one with The Byrds, one with The Flying Burrito Brothers, one solo album)
Reception[edit]
Writing in USA Today newspaper, Edna Gundersen described the list as predictable and "weighted toward testosterone-fueled vintage rock".[3] The Rolling Stone 500 has also been criticised for being male-dominated, outmoded and almost entirely Anglo-American in focus.[6][7]
Following the publicity surrounding the list, rock critic Jim DeRogatis, a former Rolling Stone editor, published Kill Your Idols: A New Generation of Rock Writers Reconsiders the Classics (ISBN 1-56980-276-9) in 2004. This featured a number of generally younger critics arguing against the high evaluation of various "great" albums, some of which had been included in the list, including DeRogatis taking on Sgt. Pepper's Lonely Hearts Club Band, which had been Rolling Stone's top choice.[citation needed]
See also[edit]
NME's The 500 Greatest Albums of All Time, a similar list
All Time Top 1000 Albums, a similar list
The 100 Greatest Songwriters of All Time, also from Rolling Stone magazine
The 500 Greatest Songs of All Time, also from Rolling Stone magazine
The 100 Greatest Artists of All Time, also from Rolling Stone magazine
1001 Albums You Must Hear Before You Die, a similar list, ordered by time period
The 100 Greatest Slovak Albums of All Time
The 150 Greatest Indonesian Albums of All Time
List of greatest hits albums
References[edit]
Jump up ^ Levy, Joe; Van Zandt, Steven, eds. (2006) [2005]. Rolling Stone 500 Greatest Albums of All Time (3rd ed.). London: Turnaround. ISBN 1-932958-61-4. OCLC 70672814.
Related news articles:
"The 500 Greatest Albums of All Time". Rolling Stone (937). Straight Arrow. December 11, 2003. pp. 83–178. ISSN 0035-791X. OCLC 1787396.
"500 Greatest Albums of All Time". rollingstone.com. Rolling Stone. Retrieved 2010-07-01.
Jump up ^ "500 Greatest Albums of All Time". Rolling Stone. May 31, 2012. Retrieved May 29, 2017.
^ Jump up to: a b "It's Certainly a Thrill: Sgt. Pepper Is Best Album", USA Today, November 17, 2003.
Jump up ^ "500 Greatest Albums of All Time". Rolling Stone. Retrieved 24 October 2016.
Jump up ^ Collett-White, Mike (April 27, 2012). "Kanye West gets 3 albums on Rolling Stone's revised 500 greatest list". msnbc.com. MSN. Retrieved 2012-05-10.
Jump up ^ Biron, Dean. 2011. Towards a Popular Music Criticism of Replenishment. Popular Music & Society, 34/5: 661-682.
Jump up ^ Schmutz, Vaughan. 2005. Retrospective Critical Consecration in Popular Music: Rolling Stone's Greatest Albums of All Time. American Behavioral Scientist, 48/11: 1510-1523.
External links[edit]
500 Greatest Albums of All Time, Rolling Stone
[show]
v
t
e
« 301–400
Rolling Stone's 500 Greatest Albums of All Time (401–500)
421–430
421: The Best of the Girl Groups (Various)
422: Presenting the Fabulous Ronettes Featuring Veronica (The Ronettes)
423: Anthology (The Supremes)
424: The Rising (Bruce Springsteen)
425: Grievous Angel (Gram Parsons)
426: Cheap Trick at Budokan (Cheap Trick)
427: Sleepless (Peter Wolf)
428: Outlandos d'Amour (The Police)
429: Another Green World (Eno)
430: Vampire Weekend (Vampire Weekend)
431–440
431: Stories from the City, Stories from the Sea (PJ Harvey)
432: Here Come the Warm Jets (Eno)
433: All Things Must Pass (George Harrison)
434: Number 1 Record (Big Star)
435: In Utero (Nirvana)
436: Sea Change (Beck)
437: Tha Carter III (Lil Wayne)
438: Boys Don't Cry (The Cure)
439: Live at the Harlem Square Club, 1963 (Sam Cooke)
440: Rum Sodomy & the Lash (The Pogues)
441–450
441: Suicide (Suicide)
442: Are We Not Men? We Are Devo! (Devo)
443: In Color (Cheap Trick)
444: The World Is a Ghetto (War)
445: Fly Like an Eagle (Steve Miller Band)
446: Back in the USA (MC5)
447: Getz/Gilberto (Stan Getz and João Gilberto)
448: Synchronicity (The Police)
449: Third/Sister Lovers (Big Star)
450: For Everyman (Jackson Browne)
451–460
451: Back to Black (Amy Winehouse)
452: John Prine (John Prine)
453: Strictly Business (EPMD)
454: Love It to Death (Alice Cooper)
455: How Will the Wolf Survive? (Los Lobos)
456: Here, My Dear (Marvin Gaye)
457: Z (My Morning Jacket)
458: Tumbleweed Connection (Elton John)
459: The Drifters' Golden Hits (The Drifters)
460: Live Through This (Hole)
461–470
461: Metal Box (Public Image Ltd)
462: Document (R.E.M.)
463: Heaven Up Here (Echo & the Bunnymen)
464: Hysteria (Def Leppard)
465: 69 Love Songs (The Magnetic Fields)
466: A Rush of Blood to the Head (Coldplay)
467: Tunnel of Love (Bruce Springsteen)
468: The Paul Butterfield Blues Band (The Paul Butterfield Blues Band)
469: The Score (Fugees)
470: Radio (LL Cool J)
471–480
471: I Want to See the Bright Lights Tonight (Richard and Linda Thompson)
472: Faith (George Michael)
473: The Smiths (The Smiths)
474: Próxima Estación: Esperanza (Manu Chao)
475: Armed Forces (Elvis Costello and the Attractions)
476: Life After Death (The Notorious B.I.G.)
477: Down Every Road 1962–1994 (Merle Haggard)
478: All Time Greatest Hits (Loretta Lynn)
479: Maggot Brain (Funkadelic)
480: Only Built 4 Cuban Linx... (Raekwon)
481–490
481: Voodoo (D'Angelo)
482: Guitar Town (Steve Earle)
483: Entertainment! (Gang of Four)
484: All the Young Dudes (Mott the Hoople)
485: Vitalogy (Pearl Jam)
486: That's the Way of the World (Earth, Wind & Fire)
487: She's So Unusual (Cyndi Lauper)
488: New Day Rising (Hüsker Dü)
489: Destroyer (Kiss)
490: Tres Hombres (ZZ Top)
491–500
491: Born Under a Bad Sign (Albert King)
492: Touch (Eurythmics)
493: Yankee Hotel Foxtrot (Wilco)
494: Oracular Spectacular (MGMT)
495: Give It Up (Bonnie Raitt)
496: Boz Scaggs (Boz Scaggs)
497: White Blood Cells (The White Stripes)
498: The Stone Roses (The Stone Roses)
499: Live in Cook County Jail (B.B. King)
500: Aquemini (OutKast)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Rolling_Stone%27s_500_Greatest_Albums_of_All_Time&oldid=805538218"
Categories:
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values: 500 album terbaik sepanjang masa versi majalah Rolling Stones – Indonesian

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