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Joe Turner's Come and Gone
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Joe Turner's Come and Gone
Written by
August Wilson
Date premiered
1984
Place premiered
Eugene O'Neill Theater Center
Waterford, Connecticut
Original language
English
Series
The Pittsburgh Cycle
Subject
the lives of spirited boarders in a lodging house
Genre
Drama
Setting
Seth Holly's boardinghouse in Pittsburgh in 1911
Joe Turner's Come and Gone is a play by American playwright August Wilson. It is the second installment of his decade-by-decade chronicle of the African-American experience, The Pittsburgh Cycle. The play was first staged 1984 at the Eugene O'Neill Theater Center in Waterford, Connecticut and opened on Broadway on 27 March 1988 at the Ethel Barrymore Theatre—running for 105 performances. Directed by Lloyd Richards, the cast included Delroy Lindo as Herald Loomis and television and movie star Angela Bassett, as Loomis's wife, Martha.
Contents
[hide]
1 Title
2 Contextual information
3 Plot synopsis
3.1 Act One
3.2 Act Two
4 Character guide
5 Character analysis
6 Genre
7 Style
8 Language
9 Theme/ideas
10 Spectacle
11 Music
12 Sample production history
13 Awards and nominations
14 References
15 Further reading
16 External links
Title[edit]
The original working title of the play was Mill Hand's Lunch Bucket, the title of a painting by Romare Bearden.[1] The title Joe Turner's Come and Gone is a line from the refrain of "Joe Turner", an early blues song.[2]
Contextual information[edit]
Joe Turner's Come and Gone is the second in a series of August Wilson's The Century Cycle, which chronicled the struggles and lives of African Americans in the 20th century. Joe Turner's Come and Gone is set in the second decade of the 20th century and chronicles the lives of a few freed former enslaved African Americans in the North and deals with the conflicts of racism and discrimination.
Plot synopsis[edit]
Act One[edit]
Scene one - Set in the 1910s, the audience is introduced to Seth Holly's boardinghouse, where Seth and his wife Bertha are in the kitchen watching Bynum in the backyard. Seth is complaining to Bertha about Bynum's strange spiritual activities. Bertha tells Seth to let him be as he isn’t bothering anyone. They also talk about Jeremy, a young man staying in the boardinghouse, getting arrested the night before for supposedly being drunk in public. Seth then has a monologue about the poor situation that the freed slaves are in after traveling up North. He worries that the African Americans are too naïve and that all the promises of jobs in the North will be taken by the poor white Americans. Then Rutherford Selig, the People Finder, comes to order dustpans from Seth, a maker of pots and pans. Then Bynum talks about an adventure that he once took up river where he found the "shiny man", a man he found on the road that offered to explain to him the Secret of Life. He had a spiritual encounter with the man, and sees the ghost of his father, telling him to find his song in life. His song, he later explains, is the Binding Song, which he uses to bind people to one another. Selig leaves and Jeremy enters, and after getting a scolding from Seth, he tells him that the white cops came and picked him up for no reason and that he was, in fact, not drunk at all. Then Herald Loomis and his daughter Zonia enter, looking for a place to stay for the week. They reveal that he is looking for his wife, Martha. After Seth shows them to their room, Jeremy relates a story about his guitar-playing abilities and how he is wary of playing for white men or money because of a bad experience. Bynum convinces Jeremy to go down to a bar to play for some money. Seth confides in Bynum and Bertha his lack of confidence in Loomis, and thinks that he is a "mean looking" man and he doesn’t want to help him find his wife because of it. After this Mattie Campbell enters, looking for Bynum because she has heard that he can "fix things". Her man, Jack, has up and left her, but she wants him to come back. Bynum tells her that he can only bind people that wish to be bound; that she is better off just letting him find his own path in life. Jeremy intervenes and suggests that Mattie stays with him as to cure both of their loneliness. The scene ends with Zonia and Reuben, the little boy from next door. Reuben discloses Bynum's odd tendencies to Zonia and tells her a story about his friend Eugene that used to sell pigeons to Bynum so he could use their blood in his rituals.
Scene Two- It is a week later and the audience again finds Seth and Bertha eating breakfast in the kitchen. Seth is still worried about Loomis's intentions and doesn’t like the look of the man. He suspects that he knows who Loomis's wife is but won’t tell him because he is worried about what he will do once he finds her. Selig returns to the house to pick up the dustpans that Seth has made for him and Loomis pays him to try to find his wife because Bynum tells him that Selig is the People Finder.
Scene Three- It is the next day and yet again we find Seth and Bertha in the kitchen. Seth is upset because he can’t find anyone to front him the money to make a new factory for making pots and pans. Then Bynum and Jeremy talk about the importance of being in love with a woman and how being with a woman is all a man needs in life. Then the last boarder enters, Molly Cunningham. She is also looking for a place to stay because she missed her train to Cincinnati. Jeremy takes a liking to Molly's appearance.
Scene Four- Again they are in the kitchen of the boarding house when the scene opens. The group has just finished eating dinner when Seth suggests they "juba"- an African style call and response song and dance. Herald Loomis enters and demands that they stop the singing. He goes into an episode where he talks in tongues and falls to the floor. He starts recalling a religious hallucination and Bynum has to calm him down and take him upstairs.
Act Two[edit]
Scene 1- Seth informs Loomis that he has to leave the boardinghouse because he thinks that Loomis was drunk when he had his episode. Seth tells him that he runs a respectable house and won’t put up with any shenanigans. Loomis and Zonia have until the next Saturday to leave the house. Bynum, Molly and Mattie are left in the kitchen where they talk about how children often follow in their parents’ footsteps. Molly asserts that she will never follow her father's path and that she will always be a strong, independent woman. Mattie leaves for Doc Goldblum's, where she cleans and irons for work. Jeremy returns to the house from work and reveals to Seth that he would not give a white foreman 50 cents to keep his job so he was fired. Seth thinks it was an idiotic choice because now he is out of a job and no longer makes $8 a week. Molly tells Jeremy that he could easily get his job back by simply returning to work. Jeremy then asks Molly to travel around with him because he needs a woman that is independent and knows what she wants. Molly agrees but refuses to return to the South.
Scene Two- Bynum and Seth are playing a game of dominoes and Bynum is singing a song about Joe Turner. Loomis asks Bynum to stop because he is uncomfortable with the song. Bynum reveals that he knew all along that Loomis was taken away by Joe Turner and that he needs to find his song in order to start his life again. Loomis relates his story to Bynum and Seth, telling them that he was taken by Joe Turner's men while trying to preach to some gambling African Americans. He spent seven years on Turner's chain gang and only survived by the thought of his wife and daughter. He tells them that after seven years he returned home to find that his wife had left and his daughter was living with her grandmother. The scene ends with Loomis being skeptical of Bynum and his voodoo abilities.
Scene Three- The scene opens with Bertha reassuring Mattie that she will find everything that she wants and needs in life and that she just has to be patient. The scene ends with Loomis telling Mattie that he's noticed her watching him and that he finds her attractive. He goes to touch her, however, but feels awkward and says "I done forgot how to touch".
Scene Four- It is the next morning and Zonia and Reuben are in the yard. Reuben tells Zonia that he has seen the ghost of Seth's mother earlier that morning and she made him keep his promise to Eugene and release the pigeons. They marvel at the idea that people could come back to life in the form of spirits. Reuben then asks Zonia if he can kiss her on the lips and she agrees. They decide that later in life they will find each other to get married.
Scene Five- In the final scene Loomis and Zonia leave the boardinghouse as it is Saturday. Bertha tells Mattie that all she needs in life is love and laughing- which they all start to do. Then Martha Pentecost [Loomis] enters with Selig looking for Loomis and Zonia. Loomis reenters with Zonia and he recounts the last decade of his life; his search for her and the heartache it has caused him. Martha tells him that she has moved on with her life because she couldn’t wait for him any longer. Martha also reveals that she had Bynum put a binding spell on her and Zonia and that is why they have come to find each other. Loomis goes into a rage and pulls out a knife. He denounces his Christian background and slashes his chest. The stage directions read "Having found his song, the song of self-sufficiency, fully resurrected, cleansed and given breath, free from any encumbrance other than the workings of his own heart and the bonds of the flesh, having accepted the responsibility for his own presence in the world, he is free to soar above the environs that weighed and pushed his spirit into terrifying contractions." He leaves and the play ends with Bynum yelling "Herald Loomis, you shining! You shining like new money!"
Character guide[edit]
Seth Holly- In his early fifties, Seth is owner of the boardinghouse and works as a craftsman.
Bertha Holly- Seth's wife of 25 years and five years his junior, Bertha runs the boardinghouse. She does all the cooking and cleaning, later with the aid of Zonia.
Bynum Walker- A "conjure" man staying with the Holly's at the boardinghouse, Bynum is in his sixties and is a freed slave from the south.
Rutherford Selig- The only white character in the play, Selig is a peddler who sells Seth's goods. Known as the "People Finder", Selig is from a family that first brought Africans across the Atlantic to become slaves. But now he unites people by recording the names and places of all the people he peddles to.
Jeremy Furlow- Another resident of the boardinghouse, Jeremy is a guitar-playing 25-year-old. He came to the North looking for a job and a way in life. He works construction, putting in the new road outside of town.
Herald Loomis- An odd man who dons an overcoat and hat in mid-August, Loomis is 32 and a displaced slave searching for his wife. He was forced to work for Joe Turner for seven years, which separated him from his wife and daughter. He works as a deacon for the Abundant Life Church and at times was possessed by spiritual beings.
Zonia Loomis- Herald's daughter, Zonia is described as a tall and skinny 11-year-old.
Mattie Campbell- Mattie is a 25-year-old girl who is disappointed with her position in life and is looking for love.
Rueben Mercer- Rueben is the Holly's next door neighbor and about Zonia's age.
Molly Cunningham- Molly is a good looking young woman of 26 who is strong and independent.
Martha Pentecost- Loomis' wife, Martha is about 28 and very religious and a member of the Evangelical church. She left the South and her daughter behind.
Joe Turner- While Turner does not make an actual appearance in the play, he is often referred to with the expectation that the audience is aware of who he is. Joe Turner, the brother of the governor of Tennessee, would kidnap black men and force them into labor on his chain gang for seven years.
Character analysis[edit]
Seth Holly - Born of free African-American parents in the North, He is set in his ways; never losing his composure and always running a respectable house. He even condemns other African Americans that do not follow this kind of lifestyle. He is economically very capitalistic and does whatever is necessary to stay afloat; including working night shifts and odd craftsman jobs he can pick up from Selig. He understands his world on a very literal level, and doesn’t aspire to become more than he is.[3]
Bertha Holly- As Seth's wife, She knows her place in the hierarchy of the boardinghouse, yet still has some say in the decision making and will often voice her opinion. A very loving mother to the boardinghouse family. In the end, she tells Mattie that the only two things you need in your life are love and laughter; the things that she has had faith in and have helped her get by.
Bynum Walker- Also comfortable with his identity as an African conjurer, Bynum is one of few characters that understands his own identity. Convinced of the fact that everyone has their own song, Bynum perpetuates the theme of identity and our constant search for it.[3]
Rutherford Selig- This suspicion of white peddler perpetuates the mistrust between the races in the North and histories repetition. Selig's identity is well enforced with the history of his ancestors and the professions that he and they chose.[3][4]
Jeremy Furlow- A generation younger than the Holly's, Jeremy represents a young generation without a purpose and trying to find its own identity as the first liberated slaves. Jeremy's "blues playing" character is classified as a suave, artist young man looking to make a quick buck and travel the nation. He is constantly seeking the attention of the women in his vicinity and tries to find the perfect girl for himself.[3]
Herald Loomis- Having been enslaved by Joe Turner for seven years, Loomis has completely lost his way in life. In the end he finds his song, an independent, self-sufficient song that he can sing proudly.[3]
Zonia Loomis- Like Reuben, Zonia represents the next innocent, malleable generation. There is a sense that history will repeat itself if the proceeding generation is not taught differently.[4]
Mattie Campbell- Originally seeking out Bynum at Seth's boardinghouse, Mattie ends up living there after Jeremy invites her to stay with him after her boyfriend, Jack, left her. In her desperate search for love, Mattie represents a naïve, inexperienced group of young freed slaves that have moved North in search of prosperity. Mattie requires a man to complete her identity, she is weak and subservient; what she would be used to as a Southern slave.[3]
Rueben Mercer- Reuben represents the repetitiveness of history. Even as an adolescent, Reuben is aware of his place in society, notices the spiritual differences of people around him, and decides at a very early age that he needs a woman that he can find in end to settle down with and marry. Many of the ideals that are seen in the adult characters of this play are instilled in Reuben and will repeat, the good and the bad, as he grows into adulthood.[4]
Molly Cunningham- Molly represents the opposite of Mattie. Molly is young, attractive, and independent. Unwilling to let herself be told what to do anymore, by anyone, Molly is convinced that she will never return to the South and refuses be associated with anything that her old life entailed.
Martha Pentecost- Like Molly, Martha is an independent African-American woman. She attempted to escape the racial persecution, but still finds it In the North. For strength, she rejects her African identity and turns to Christianity. She does what it takes to ensure her self-preservation and remains a strong, self-sufficient woman until the end.
Joe Turner- Joe Turner is more of a representational character in this play than a literal character. By illegally kidnapping freed and run away slaves, Turner represents the evil of the Southern, racist white man.[3][4] He is based on the person of Joe Turney, brother of Tennessee governor Peter Turney.[5] See pages 53f in "Conversations with August Wilson"[6] "Joe Turner was the brother of Pete Turner, who was the governor of Tennessee, who would press Negroes in peonage." Also, see W.C. Handy's autobiography, p. 145.[7] "It goes back to Joe Turney (also called Turner), brother of Pete Turney, one-time governor of Tennessee. Joe had the responsibility of taking Negro prisoners from Memphis to the penitentiary at Nashville. Sometimes he took them to the "farms" along the Mississippi. Their crimes when indeed there were any crimes, were usually very minor, the object of the arrests being to provide needed labor for spots along the river. As usual, the method was to set a stool-pigeon where he could start a game of craps. The bones would roll blissfully till the required number of laborers had been drawn into the circle. At that point the law would fall upon the poor devils, arrest as many as were needed for work, try them for gambling in a kangaroo court and then turn the culprits over to Joe Turney. That night, perhaps, there would be weeping and wailing among the dusky belles. If one of them chanced to ask a neighbor what had become of the sweet good man, she was likely to receive the pat reply, 'They tell me Joe Turner's come and gone.'"
Genre[edit]
The genre of Joe Turner's Come and Gone is a drama. According to David Rush a drama is "a serious play in which the universe is reduced in size (173)".[8] He also describes it as a "private struggle, family situation, or a character grappling with some form of social injustice or another". Joe Turner lives in the small world of the Holly's boardinghouse and examines the struggles of its residents. Rush also mentions that
"characters in drama don’t fall into easy categories; nor are there recurring plot patterns that we can identify… The plays are always hybrids therefore, the best way to approach them is to apply the criteria of the [classic tragedy, classic comedy, melodrama, and farce] and see what conclusions we can draw."[8]
Again, Joe Turner does not seem to fall into one singular genre, but is a collaborative of already existing ones.
Style[edit]
While there are some depictions of unrealistic events, such as Loomis's "possession" and Bynum's stories about his shining man and inner song, style of Joe Turner is based in realism. In a relatively simple definition of realism, David Rush describes it as
"a style that attempts to depict life on stage as it is actually lived by the members of the audience. It shows us so-called everyday events happening to people like us who live in a world like ours and tells its story in a way that makes it appear logical and believable (191).[8]
Joe Turner is exactly that, a linear story line with depictions of everyday life for the residents of the boardinghouse. While modern audiences can’t necessarily relate with all aspects of this culture, it is definitely plausible in the context of American history. Later Rush goes on to qualify realism by "three unities: time, place, and action (192)".[8] Again this play follows this definition of realism in that it is linear plot, remains in the place- the boardinghouse in Pittsburgh- and effectively tells the story of the few people that live in this house.
In a review of the Ethel Barrymore staging of the play, Clive Barnes comments on the language, idiom, and mix of naturalism and symbolism are beautifully staged and the cast is excellent at depicting the realistic play and develop it a heartrending climax.[9]
Language[edit]
Much like the style of the play, the language used in Joe Turner is realistic in nature and depicts that of the dialogue of the day. Each of the characters has a specific rhythm and speech pattern. The dialogue of the characters also reflects the accents that the characters would have had; like Seth's Pennsylvanian twang and Loomis's Southern drawl. And according to Anne Fleche, there is a lack of suspense or surprise in the dialogue and the comfort of the language of the characters encourages the theme of reoccurring, oppressing experiences.[4]
Theme/ideas[edit]
The major themes in Joe Turner's Come and Gone are identity, migration, and racial discrimination. These core themes are ones August Wilson tends to use in many of his plays. one[3][10][11]
Identity: The most prominent theme in Joe Turner is the idea of identity. Each of the characters, whether or not they realize it, is looking for his or her identity as an American, African, man, woman, businessman, and/or artist. As Alen Nadel describes, "For each of the characters, that quest for humanity is for a form of completeness which their circumstances, and history, has denied them. It may be economic security or fair employment practices, or a mate, or a family. (96)" Just because the Civil War decided the emancipation of slaves did not mean that human rights for the freed slaves were guaranteed. African Americans had to fight to find an identity in a strange, hostile environment while trying to hold on to their African roots.
Migration: The shuffling of people after the emancipation of the slaves caused many social and cultural issues throughout the nation. Along with the freedom to move about came the idea that no matter your background, there would be somewhere in the country that you could get by economically, if not be successful.
Racial Discrimination: Even though there seems to be a promise of jobs and freedom in the North, it often seems as racially divided as the South. Jeremy runs into the most discrimination, although all of the characters feel the effects of intolerance. Not only does discrimination affect the residents of the boardinghouse, but there is an even deeper level of exploitation seen throughout the play. Selig gets paid to find people that he relocates, white police officers take Jeremy's money, as does the foreman at his job building the road, and Selig is always trying to get a better price out of Seth for his labor. Even though the Civil War has ended, the African Americans were still being treated as objects rather than human beings.
Spectacle[edit]
Most of the spectacle in Joe Turner's Come and Gone is related to the spirituality and religious qualities of the characters. Bynum is often performing what characters in the play refer to as voodoo activities. In the beginning of the play he is referred to as spilling the blood of the pigeons and has interesting, different good luck charms and untraditional remedies. Also when Loomis becomes possessed by the Holy Spirit at the end of act one requires some spectacular situations and portrayals. Along with this "possession" is the juba song that requires the singing and dancing that is "as African as possible" with Seth playing harmonica, Bynum singing and drumming, and Jeremy playing guitar.
However, most of the play isn’t much spectacle at all. Mostly it chronicles the everyday lives of the residents of the boardinghouse. Some critics of the play even criticize the length of the play and say the play had "little action and but scenes with people yelling at each other".[12] In this way the play structure follows the realism genre in that it depicts real life on stage, with everyday activities being performed; like cooking, cleaning, etc.
Music[edit]
Music within this community seems to be a pivotal social catalyst. Many of the character either play an instrument or sing; Seth plays the harmonica, Jeremy plays the guitar, and Zonia and Bynum both sing within the play. Zonia is heard at the end of the first scene of act one "singing and playing a game." This playground song is completely innocent in manner and talks about a young girl that often makes mistakes. This song is used to further Zonia's characterization by showing her as the most innocent character in the play. Jeremy plays the guitar, which also has a typical connotation connected with the character Jeremy portrays. He is the naïve, young character that is fresh to the world. Like his guitar, Jeremy is hip and often represents popular, youthful culture. Seth plays the harmonica during the juba that is performed onstage. The juba is described as:
"The Juba is reminiscent of the ring shouts of the African slaves. It is a call and response dance. Bynum sits at the table and drums. He calls the dance as other clap hands, shuffle, and stomp around the table. It should be as African as possible, with the performers working themselves up into a near frenzy. The words can be improvised, but should include some mention of the Holy Ghost."
This song is a way for the African Americans to relate with one another and continue their relationship with their heritage. Finally, Bynum is often seen and heard singing throughout the show. The first time he sings is to lighten the mood from the work they are doing. Then later he sings about Joe Turner kidnapping slaves and forcing them to work on his chain gang. Bynum's singing is a characterization of his wisdom and age. He seems to know a song for all occasions and characters. Not only does he physically sing on stage, Bynum's character also refers to "finding your song". Music is so important to this man that each person's soul and purpose in life is characterized by their song.[13]
Wilson has also been known to be greatly influenced by the blues music period. The title of the play, for instance, is a line from a blues song and the idea of stealing one's song is a great tragedy. Also, music also perpetuates the racial issues of the day as Jeremy is often shot down by white men for musical abilities.[14]
Sample production history[edit]
Joe Turner's Come and Gone was first produced in 1986 Yale Repertory Theatre.[15]
Later, for its press review, it opened on March 26, 1988, at the Ethel Barrymore Theatre on Broadway in New York City, with the following cast:
Seth Holly: Mel Winkler
Bertha Holly: L. Scott Caldwell
Bynum Walker: Ed Hall
Rutherford Selig: Raynor Scheine
Jeremy Furlow: Bo Rucker
Herald Loomis: Delroy Lindo
Zonia Loomis: Jamila Perry
Mattie Campbell: Kimberleigh Aarn
Reuben Mercer: Richard Parnell Habersham
Molly Cunningham: Kimberly Scott
Martha Pentecost: Angela Bassett
Director: Lloyd Richards
Set Design: Scott Bradley
Costume Design: Pamela Peterson
Lighting Design: Michael Giannitti
Musical Direction: Dwight Andrews
Production Stage Manager: Karen L. Carpenter
Stage Manager: Elliott Woodruff
Casting Consultants: Meg Simon/ Fran Kumin
Awards and nominations[edit]
Awards
1988 New York Drama Critics’ Circle Award for Best Play
Nominations
1988 Drama Desk Award for Best Play
1988 Tony Award for Best Play
References[edit]
Jump up ^ Michael Feingold (27 September 2005). "August Wilson (1945-2005)". The Village Voice. Retrieved 2008-09-28.
Jump up ^ Big Bill Broonzy, Alan Lomax: Blues Songbook, disc 2.
^ Jump up to: a b c d e f g h Nadel, Alen. "Boundaries, Logistics, and Identity: The Property of Metaphor in Fences and Joe Turner's Come and Gone", May All Your Fences Have Gates. Iowa City: University of Iowa Press, 1994.
^ Jump up to: a b c d e Fleche, Anne. "The History Lesson: Authenticity and Anachronism in August Wilson's Plays." May All Your Fences Have Gates. Iowa City: University of Iowa Press, 1994.
Jump up ^ American drama 1945-2000: an introduction By David Krasner
Jump up ^ Bryer, Jackson R and Hartig, Mary C. "Conversations with August Wilson." Jackson R. Bryer, Mary C. Univ. Press of Mississippi, 2006. ISBN 1-57806-831-2, ISBN 978-1-57806-831-9
Jump up ^ Handy, W.C. Father Of The Blues: An Autobiography. Da Capo Press, 1991.
^ Jump up to: a b c d Rush, David. A Student Guide to Play Analysis. Carbondale: Southern Illinois UP, 2005.
Jump up ^ Barnes, Clive. "O’Neill in Blackface." New York Post 28 March 1988. In New York Theatre Critics’ Reviews, 1988: 320.
Jump up ^ Fleche, Anne. "The History Lesson: Authenticity and Anachronism in August Wilson's Plays", May All Your Fences Have Gates. Iowa City: University of Iowa Press, 1994. 21-50.
Jump up ^ Werner, Craig. "August Wilson's Burden: The Function of Neoclassical Jazz", May All Your Fences Have Gates. Iowa City: University of Iowa Press, 1994.
Jump up ^ Stearns, David Patrick. "’Turner’ Comes to a Near Halt". USA Today 29 March 1988. In New York Theatre Critics’ reviews, 1988. 323.
Jump up ^ Shafer, Yvonne. August Wilson: A Research and Production Sourcebook. Westport, Connecticut: Greenwood Press, 1998.
Jump up ^ Werner, Craig. "August Wilson's Burden: The Function of Neoclassical Jazz", May All Your Fences Have Gates. Iowa City: University of Iowa Press, 1994. 21-50
Jump up ^ "Joe Turner's Come and Gone| Intro." from Enotes.com (2 Mar. 2009)
Further reading[edit]
Wilson, August (1986). Joe Turner's Come and Gone: A Play in Two Acts (First ed.). New York: s.n. OCLC 18599550.
External links[edit]
Joe Turner's Come and Gone at the Internet Broadway Database
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Dynamin
From Wikipedia, the free encyclopedia
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Dynamin family
Structure of the nucleotide-free myosin II motor domain from Dictyostelium discoideum fused to the GTPase domain of dynamin I from Rattus norvegicus
Identifiers
Symbol
Dynamin_N
Pfam
PF00350
Pfam clan
CL0023
InterPro
IPR001401
PROSITE
PDOC00362
[show]Available protein structures:
Pfam
structures
PDB
RCSB PDB; PDBe; PDBj
PDBsum
structure summary
Dynamin central region
Structure of the nucleotide-free myosin II motor domain from Dictyostelium discoideum fused to the GTPase domain of dynamin I from Rattus norvegicus
Identifiers
Symbol
Dynamin_M
Pfam
PF01031
InterPro
IPR000375
[show]Available protein structures:
Pfam
structures
PDB
RCSB PDB; PDBe; PDBj
PDBsum
structure summary
Dynamin is a GTPase responsible for endocytosis in the eukaryotic cell. Dynamins are principally involved in the scission of newly formed vesicles from the membrane of one cellular compartment and their targeting to, and fusion with, another compartment, both at the cell surface (particularly caveolae internalization) as well as at the Golgi apparatus.[1][2][3] Dynamin also plays a role in many processes including division of organelles,[4] cytokinesis and microbial pathogen resistance.
Dynamin is part of the "dynamin superfamily," which includes classical dynamins, dynamin-like proteins, Mx proteins, OPA, mitofusins, and GBPs. Dynamin itself is a 96 kDa enzyme, and was first isolated when researchers were attempting to isolate new microtubule-based motors from the bovine brain. Dynamin has been extensively studied in the context of clathrin-coated vesicle budding from the cell membrane.[3][5]
Contents
[hide]
1 Function
2 Types
3 Disease implications
4 References
5 External links
Function[edit]
As a vesicle invaginates, dynamin polymerizes into a helical tube around the neck of the vesicle. The polymer constricts the underlying membrane upon GTP binding and hydrolysis. Constriction around the vesicle neck leads to membrane fission and results in the pinching off of the vesicle from the parent membrane. An example of this process is clathrin-mediated endocytosis.[2][5]
To view a ‘cartoon’ image of the non-constricted and constricted state of dynamin spirals, please follow this link: http://dynamin.niddk.nih.gov/figure5.html.[2] The first structure on the left is dynamin in its relaxed state. The structure on the right is dynamin in its constricted state. This shows the extent to which dynamin tightens and changes when GTP is converted to GDP.[1]
This constriction is in part the result of the twisting activity of dynamin.[6] This twisting required GTP hydrolysis. Dynamin is the only molecular motor known to have a twisting activity. Dynamin is a right-handed helix and has a right-handed twisting activity that explains its tightening and the reduction in the pitch of the helix described above.
Types[edit]
In mammals, three different dynamin genes have been identified:
Dynamin I is expressed in neurons and neuroendocrine cells
Dynamin II is expressed in most cell types
Dynamin III is strongly expressed in the testis, but is also present in heart, brain, and lung tissue.[1][5]
Disease implications[edit]
Mutations in Dynamin II have been found to cause dominant intermediate Charcot-Marie-Tooth disease.[7] Epileptic encephalopathy–causing de novo mutations in dynamin have been suggested to cause dysfunction of vesicle scission during synaptic vesicle endocytosis.[8]
References[edit]
^ Jump up to: a b c Henley, J.R.; Cao, H.; McNicven, M.A. (1999). "Participation of dynamin in the biogenesis of cytoplasmic vesicles". The FASEB Journal. 13 (9002): S243–S247.
^ Jump up to: a b c Hinshaw, J. “Research statement, Jenny E. Hinshaw, Ph.D.” National Institute of Diabetes & Digestive & Kidney Diseases, Laboratory of Cell Biochemistry and Biology. Accessed 19 March 2013.
^ Jump up to: a b Urrutia, R.; Henley, J.R.; Cook, T.; McNiven, M.A. (1997). "The dynamins: Redundant or distinct functions for an expanding family of related GTPases?". Proc. Natl. Acad. Sci. USA. 94 (2): 377–384. doi:10.1073/pnas.94.2.377.
Jump up ^ Thoms S, Erdmann R (Oct 2005). "Dynamin-related proteins and Pex11 proteins in peroxisome division and proliferation". FEBS J. 272 (20): 5169–81. doi:10.1111/j.1742-4658.2005.04939.x. PMID 16218949.
^ Jump up to: a b c McMahon. (2004). Researching Endocytic Mechanisms: Dynamin. Accompaniment to Nature Reviews Molecular Cell Biology, 5, 133-147.
Jump up ^ Roux, A; Uyhazi, K; Frost, A; De Camilli, P (2006-04-30). "GTP-dependent twisting of dynamin implicates constriction and tension in membrane fission". Nature. 441 (7092): 528–31. doi:10.1038/nature04718. PMID 16648839.
Jump up ^ Stephan Zuchner, Maher Noureddine, Marina Kennerson, Kristien Verhoeven, Kristl Claeys, Peter De Jonghe, John Merory, Sofia A. Oliveira, Marcy C. Speer, Judith E. Stenger, Gina Walizada, Danqing Zhu, Margaret A. Pericak-Vance, Garth Nicholson, Vincent Timmerman & Jeffery M. Vance (March 2005). "Mutations in the pleckstrin homology domain of dynamin 2 cause dominant intermediate Charcot-Marie-Tooth disease". Nature Genetics. 37 (3): 289–294. doi:10.1038/ng1514. PMID 15731758. CS1 maint: Multiple names: authors list (link)
Jump up ^ Dhindsa, R; Bradrick, S; Yao, Y; Heinzen, E; Petrovski, S; Krueger, B; Johnson, M; Frankel, F; Petrou, S; Boumil, R; Goldstein, D (2015-06-15). "Epileptic encephalopathy-causing mutations in DNM1 impair synaptic vesicle endocytosis". Neurology Genetics. 1 (1): 3–9.
External links[edit]
Wikimedia Commons has media related to Dynamins.
Dynamins at the US National Library of Medicine Medical Subject Headings (MeSH)
[show]
v
t
e
Membrane protein: vesicular transport proteins (TC 1F)
Synaptic vesicle
SNARE
Q-SNARE
SNAP25
SNAP29
Syntaxin
STX1A
STX1B
STX2
STX3
STX4
STX5
STX6
STX7
STX8
STX10
STX11
STX12
STX16
STX17
STX18
STX19
Munc-18: STXBP1
STXBP2
STXBP3
STXBP4
STXBP5
STXBP6
R-SNARE
Synaptobrevin/VAMP: VAMP1
VAMP2
VAMP3
Synaptotagmin
SYT1
SYT2
SYT3
SYT4
SYT5
SYT6
SYT7
SYT8
SYT9
SYT10
SYT11
SYT12
SYT13
SYT14
SYT15
SYT16
SYT17
Other
Synaptophysin
Synapsin
Small GTPase: RAB3A
COPI
Coatomer
COPA
COPB1
COPB2
COPD/Archain
COPE
COPG
COPG2
COPZ1
COPZ2
Small GTPase: ARF
COPII
Coatomer
SEC23A/SEC24A
SEC13/SEC31
Small GTPase: SAR1A
RME/Clathrin
CLTA
CLTB
CLTC
Caveolae
Caveolin (CAV1
CAV2
CAV3)
Other/ungrouped
Vesicle formation
Adaptor protein complex 1:
AP1AR
AP1B1
AP1G1
AP1G2
AP1M1
AP1M2
AP1S1
AP1S2
AP1S3
Adaptor protein complex 2:
AP2A1
AP2A2
AP2B1
AP2M1
AP2S1
Adaptor protein complex 3:
AP3B1
AP3B2
AP3D1
AP3M1
AP3M2
AP3S1
AP3S2
Adaptor protein complex 4:
AP4B1
AP4E1
AP4M1
AP4S1
LMAN1
LYST
BLOC-1:
DTNBP1
BLOC153
BLOC-2:
HPS3
HPS5
HPS6
BLOC-3:
HPS1
HPS4
Coats:
Retromer
TIP47
Small GTPase
Dynamin
DNM1
DNM2
DNM3
Other
EHD protein family: EHD1
EHD2
EHD3
EHD4
Sorting nexins
Vacuolar protein sorting: VPS13B
VPS33B
SYNRG
See also vesicular transport protein disorders
[show]
v
t
e
Proteins of the cytoskeleton
Human
Microfilaments
and ABPs
Myofilament
Actins
A1
A2
B
C1
G1
G2
Myosins
I
MYO1A
MYO1B
MYO1C
MYO1D
MYO1E
MYO1F
MYO1G
MYO1H)
II
MYH1
MYH2
MYH3
MYH4
MYH6
MYH7
MYH7B
MYH8
MYH9
MYH10
MYH11
MYH13
MYH14
MYH15
MYH16
III
MYO3A
MYO3B
V
MYO5A
MYO5B
MYO5C
VI
MYO6
VII
MYO7A
MYO7B
IX
MYO9A
MYO9B
X
MYO10
XV
MYO15A
XVIII
MYO18A
MYO18B
LC
MYL1
MYL2
MYL3
MYL4
MYL5
MYL6
MYL6B
MYL7
MYL9
MYLIP
MYLK
MYLK2
MYLL1
Other
Tropomodulin
1
2
3
4
Troponin
T 1 2 3
C 1 2
I 1 2 3
Tropomyosin
1
2
3
4
Actinin
1
2
3
4
Arp2/3 complex
actin depolymerizing factors
Cofilin
1
2
Destrin
Gelsolin
Profilin
1
2
Titin
Other
Wiskott-Aldrich syndrome protein
Fibrillin
Filamin
FLNA
FLNB
FLNC
Espin
TRIOBP
Intermediate
filaments
Type 1/2
(Keratin,
Cytokeratin)
Epithelial keratins
(soft alpha-keratins)
type I/chromosome 17
10
12
13
14
15
16
17
19
20
chromosome 12
18
none
21
type II/chromosome 12
1
2A
3
4
5
6A
6B
7
8
9
Hair keratins
(hard alpha-keratins)
type I/chromosome 17
31
32
33A
33B
34
35
36
37
38
type II/chromosome 12
81
82
83
84
85
86
Ungrouped alpha
chromosome 17
23
24
25
26
27
28
39
40
chromosome 12
71
72
73
74
75
76
77
78
79
80
Not alpha
Beta-keratin
Type 3
Desmin
GFAP
Peripherin
Vimentin
Type 4
Internexin
Nestin
Neurofilament
NEFL
NEFM
NEFH
Synemin
Syncoilin
Type 5
Nuclear lamins: A/C
B1
B2
Microtubules
and MAPs
Kinesins
KIF1A
KIF1B
KIF2A
KIF2C
KIF3B
KIF3C
KIF4A
KIF4B
KIF5A
KIF5B
KIF5C
KIF6
KIF7
KIF9
KIF11
KIF12
KIF13A
KIF13B
KIF14
KIF15
KIF16B
KIF17
KIF18A
KIF18B
KIF19
KIF20A
KIF20B
KIF21A
KIF21B
KIF22
KIF23
KIF24
KIF25
KIF26A
KIF26B
KIF27
KIFC1
KIFC2
KIFC3
Dyneins
axonemal: DNAH1
DNAH2
DNAH3
DNAH5
DNAH6
DNAH7
DNAH8
DNAH9
DNAH10
DNAH11
DNAH12
DNAH13
DNAH14
DNAH17
DNAI1
DNAI2
DNALI1
DNAL1
DNAL4
cytoplasmic: DYNC1H1
DYNC2H1
DYNC1I1
DYNC1I2
DYNC1LI1
DYNC1LI2
DYNC2LI1
DYNLL1
DYNLL2
DYNLRB1
DYNLRB2
DYNLT1
DYNLT3
Other
Tau protein
Dynactin
DCTN1
Tubulins
TUBA1A
TUBA1B
TUBA1C
TUBA3C
TUBA3D
TUBA3E
TUBA4A
TUBA8
Stathmin
Tektin
TEKT1
TEKT2
TEKT3
TEKT4
TEKT5
Dynamin
DNM1
DNM2
DNM3
Catenins
Alpha catenin
Beta catenin
APC
Plakoglobin (gamma catenin)
Delta catenin
GAN
Membrane
Dystrophin
Dystroglycan
Utrophin
Ankyrin
ANK1
ANK2
ANK3
Spectrin
SPTA1
SPTAN1
SPTB
SPTBN1
SPTBN2
SPTBN4
SPTBN5
Other
Plakins
Corneodesmosin
Desmoplakin
Dystonin
Envoplakin
MACF1
Periplakin
Plectin
Talin
TLN1
Vinculin
Plakophilin
PKP1
PKP2
Nonhuman
Major sperm proteins
Prokaryotic cytoskeleton
Crescentin
FtsZ
MreB
See also: cytoskeletal defects
[show]
v
t
e
Hydrolases: acid anhydride hydrolases (EC 3.6)
3.6.1
Pyrophosphatase
Inorganic
Thiamine
Apyrase
Thiamine-triphosphatase
3.6.2
Adenylylsulfatase
Phosphoadenylylsulfatase
3.6.3-4: ATPase
3.6.3
Cu++ (3.6.3.4)
Menkes/ATP7A
Wilson/ATP7B
Ca+ (3.6.3.8)
SERCA
ATP2A1
ATP2A2
ATP2A3
Plasma membrane
ATP2B1
ATP2B2
ATP2B3
ATP2B4
SPCA
ATP2C1
ATP2C2
Na+/K+ (3.6.3.9)
ATP1A1
ATP1A2
ATP1A3
ATP1A4
ATP1B1
ATP1B2
ATP1B3
ATP1B4
H+/K+ (3.6.3.10)
ATP4A
Other P-type ATPase
ATP8B1
ATP10A
ATP11B
ATP12A
ATP13A2
ATP13A3
3.6.4
Dynein
Kinesin
Myosin
Katanin
3.6.5: GTPase
3.6.5.1: Heterotrimeric G protein
Gαs
Gαi
GNAI1
GNAI2
GNAI3
Gαq/11
GNAQ
GNA11
Gα12/13
GNA12
GNA13
Transducin
GNAT1
GNAT2
Gustducin
GNAT3
3.6.5.2: Small GTPase > Ras superfamily
Rho family of GTPases: Cdc42
CDC42
TC10
TCL
RhoUV
RhoU
RhoV
Rac
Rac1
2
3
RhoG
RhoBTB
1
2
RhoH
Rho
A
B
C
Rnd
1
2
3
RhoDF
RhoF
RhoD
other: Ras
HRAS
KRAS
NRAS
Rab
RAB23
RAB27
Arf
ARF6
SAR1B
ARL13B
ARL6
Ran
Rheb
Rap
RGK
3.6.5.3: Protein-synthesizing GTPase
Prokaryotic
IF-2
EF-Tu
EF-G
Eukaryotic
3.6.5.5-6: Polymerization motors
Dynamin
Tubulin
[show]
v
t
e
Enzymes
Activity
Active site
Binding site
Catalytic triad
Oxyanion hole
Enzyme promiscuity
Catalytically perfect enzyme
Coenzyme
Cofactor
Enzyme catalysis
Regulation
Allosteric regulation
Cooperativity
Enzyme inhibitor
Classification
EC number
Enzyme superfamily
Enzyme family
List of enzymes
Kinetics
Enzyme kinetics
Eadie–Hofstee diagram
Hanes–Woolf plot
Lineweaver–Burk plot
Michaelis–Menten kinetics
Types
EC1 Oxidoreductases (list)
EC2 Transferases (list)
EC3 Hydrolases (list)
EC4 Lyases (list)
EC5 Isomerases (list)
EC6 Ligases (list)
Molecular and Cellular Biology portal
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This is a list of Treehouse of Horror episodes produced by the animated television series The Simpsons. Treehouse of Horror episodes have aired annually since the second season (1990) and each episode has three separate segments. These segments usually involve the family in some horror, science fiction, or supernatural setting and always take place outside the normal continuity of the show and are therefore considered to be non-canon. "Treehouse of Horror" episode aired on October 25, 1990 and was inspired by EC Comics Horror tales.[1] Before "Treehouse of Horror XI", which aired in 2000, every episode has aired in the week preceding or on October 31; "Treehouse of Horror II" and "Treehouse of Horror X" are the only episodes to air on Halloween. Between 2000 and 2011, due to Fox's contract with Major League Baseball's World Series, several episodes have originally aired in November;[2] as of 2011 every Treehouse of Horror episode has aired during the month of October. From "Treehouse of Horror" to "Treehouse of Horror XIII", all three segments were written by different writers and in some cases there was a fourth writer that wrote the opening and wraparound segments.[3] For "Treehouse of Horror", there were even three different directors for the episode.[4] Starting with season fifteen's "Treehouse of Horror XIV", only one writer was credited as having written a Treehouse of Horror episode, and the trend has continued since.[5][6][7][8]
As of 2017, there are twenty-eight Treehouse of Horror episodes, with one airing every year. They are known for being more violent than an average Simpsons episode and contain several different trademarks, including the alien characters Kang and Kodos who have appeared in every episode. Quite often the segments will parody well-known movies, books, radio shows, and television shows. The Twilight Zone has been parodied quite often, and has served as the inspiration for numerous segments.[9]
Contents
[hide]
1 Episodes
2 See also
3 References
4 External links
Episodes[edit]
See also: List of The Simpsons episodes
Installment
Season
No. in
regular series
Segments
Directed by
Written by
Original air date
Prod.
code
I 2 16–203
"Bad Dream House"
Wes Archer John Swartzwelder October 25, 1990 7F04
"Hungry are the Damned"
Rich Moore Jay Kogen & Wallace Wolodarsky
"The Raven"
David Silverman Sam Simon & Edgar Allan Poe
II 3 42–307
"Lisa's Nightmare"
Jim Reardon Al Jean & Mike Reiss
Jeff Martin, George Meyer
Sam Simon, John Swartzwelder October 31, 1991 8F02
"Bart's Nightmare"
"Homer's Nightmare"
III 4 64–405
"Clown Without Pity"
Carlos Baeza Al Jean & Mike Reiss
Jay Kogen & Wallace Wolodarsky
Sam Simon, Jon Vitti October 29, 1992 9F04
"King Homer"
"Dial 'Z' for Zombies"
IV 5 86–505
Wraparounds
David Silverman Conan O'Brien[10] October 28, 1993 1F04
"The Devil and Homer Simpson"
Greg Daniels & Dan McGrath[11]
"Terror at 5½ Feet"
Bill Oakley & Josh Weinstein[12]
"Bart Simpson's Dracula"
Bill Canterbury[13]
V 6 109–606
"The Shinning"
Jim Reardon Bob Kushell[14] October 30, 1994 2F03
"Time and Punishment"
Greg Daniels & Dan McGrath[15]
"Nightmare Cafeteria"
David S. Cohen[16]
VI 7 134–706
"Attack of the 50-Foot Eyesores"
Bob Anderson John Swartzwelder[17] October 29, 1995 3F04
"Nightmare on Evergreen Terrace"
Steve Tompkins[17]
"Homer³"
David S. Cohen[18]
VII 8 154–801
"The Thing and I"
Mike B. Anderson Ken Keeler[19] October 27, 1996 4F02
"The Genesis Tub"
Dan Greaney[20]
"Citizen Kang"
David S. Cohen[21]
VIII 9 182–904
"The HΩmega Man"
Mark Kirkland Mike Scully[22] October 26, 1997 5F02
"Fly vs. Fly"
David S. Cohen[23]
"Easy-Bake Coven"
Ned Goldreyer[22]
IX 10 207–1004
"Hell Toupée"
Steven Dean Moore Donick Cary[24] October 25, 1998 AABF01
"The Terror of Tiny Toon"
Larry Doyle[25]
"Starship Poopers"
David S. Cohen[26]
X 11 230–1104
"I Know What You Diddily-Iddily-Did"
Pete Michels Donick Cary[27] October 31, 1999 BABF01
"Desperately Xeeking Xena"
Tim Long[28]
"Life's a Glitch, Then You Die"
Ron Hauge[29]
XI 12 249–1201
"G-G-Ghost D-D-Dad"
Matthew Nastuk Rob LaZebnik[30] November 1, 2000 BABF21
"Scary Tales Can Come True"
John Frink & Don Payne[31]
"Night of the Dolphin"
Carolyn Omine[32]
XII 13 270–1301
"Hex and the City"
Jim Reardon Joel H. Cohen November 6, 2001 CABF19
"House of Whacks"
John Frink & Don Payne
"Wiz Kids"
Carolyn Omine
XIII 14 292–1401
"Send in the Clones"
David Silverman Marc Wilmore November 3, 2002 DABF19
"The Fright to Creep and Scare Harms"
Brian Kelley
"The Island of Dr. Hibbert"
Kevin Curran
XIV 15 314–1501
"Reaper Madness"
Steven Dean Moore John Swartzwelder November 2, 2003 EABF21
"Frinkenstein"
"Stop the World, I Want to Goof Off"
XV 16 336–1601
"The Ned Zone"
David Silverman Bill Odenkirk November 7, 2004 FABF23
"Four Beheadings and a Funeral"
"In the Belly of the Boss"
XVI 17 360–1704
"B.I.: Bartificial Intelligence"
David Silverman Marc Wilmore November 6, 2005 GABF17
"Survival of the Fattest"
"I've Grown a Costume on Your Face"
XVII 18 382–1804
"Married to the Blob"
David Silverman
Matthew Faughnan Peter Gaffney November 5, 2006 HABF17
"You Gotta Know When to Golem"
"The Day the Earth Looked Stupid"
XVIII 19 405–1905
"E.T., Go Home"
Chuck Sheetz Marc Wilmore November 4, 2007 JABF16
"Mr. & Mrs. Simpson"
"Heck House"
XIX 20 424–2004
"Untitled Robot Parody"
Bob Anderson Matt Warburton November 2, 2008 KABF16
"How to Get Ahead in Dead-vertising"
"It's the Grand Pumpkin, Milhouse"
XX 21 445–2104
"Dial 'M' for Murder or Press '#' to Return to Main Menu"
Mike B. Anderson
Matthew Schofield Daniel Chun October 18, 2009 LABF14
"Don't Have a Cow, Mankind"
"There's No Business Like Moe Business"
XXI 22 468–2204
"War and Pieces"
Bob Anderson Joel H. Cohen November 7, 2010 MABF16
"Master and Cadaver"
"Tweenlight"
XXII 23 489–2303
"The Diving Bell and Butterball"
Matthew Faughnan Carolyn Omine October 30, 2011 NABF19
"Dial D for Diddly"
"In the Na'Vi"
XXIII 24 510–2402
"The Greatest Story Ever Holed"
Steven Dean Moore David Mandel & Brian Kelley October 7, 2012 PABF17
"UNnormal Activity"
"Bart & Homer's Excellent Adventure"
XXIV 25 532–2502
"Oh the Places You'll D'oh"
Rob Oliver Jeff Westbrook October 6, 2013 RABF16
"Dead and Shoulders"
"Freaks no Geeks"
XXV 26 556–2604
"School is Hell"
Matthew Faughnan Stephanie Gillis October 19, 2014 SABF21
"A Clockwork Yellow"
"The Others"
XXVI 27 579–2705
"Wanted: Dead, Then Alive"
Steven Dean Moore Joel H. Cohen October 25, 2015 TABF18
"Homerzilla"
"Telepaths of Glory"
XXVII 28 600–2804
"Dry Hard"
Steven Dean Moore Joel H. Cohen October 16, 2016 VABF16
"BFF R.I.P"
"Moefinger"
XXVIII 29 622–2904
"The Exor-Sis"
Timothy Bailey John Frink October 22, 2017 WABF18
"Coralisa"
"Mmm... Homer"
XXIX 30 644–3004
"Geriatric Park"
Matthew Faughnan Joel H. Cohen October 2018 XABF16
TBA
TBA
See also[edit]
List of The Simpsons episodes
References[edit]
Jump up ^ Jean, Al (2002). The Simpsons season 2 DVD commentary for the episode "Treehouse of Horror" (DVD). 20th Century Fox.
Jump up ^ Ryan, Andrew (2006-11-04). "Pick of the Day: The Simpsons Treehouse of Horror XVII". The Globe and Mail. p. 12.
Jump up ^ O'Brien, Conan; Weinstein, Josh; Oakley, Bill; Daniels, Greg; McGrath, Dan; Canterbury, Bill; Silverman, David (1993-10-28). "Treehouse of Horror IV". The Simpsons. Season 04. Episode 05. Fox.
Jump up ^ Swartzwelder, John; Kogen, Jay; Wolodarsky, Wallace; Simon, Sam; Archer, Wes; Moore, Rich; Silverman, David (1990-10-25). "Treehouse of Horror". The Simpsons. Season 2. Episode 03. Fox.
Jump up ^ Odenkirk, Bill; Silverman, David (2004-11-04). "Treehouse of Horror XV". The Simpsons. Season 16. Episode 01. Fox.
Jump up ^ Wilmore, Marc; Silverman, David (2005-11-06). "Treehouse of Horror XVI". The Simpsons. Season 17. Episode 04. Fox.
Jump up ^ Gaffney, Peter; Silverman, David; Faughnan, Matthew (2006-11-05). "Treehouse of Horror XVII". The Simpsons. Season 18. Episode 04. Fox.
Jump up ^ Wilmore, Marc; Sheetz, Chuck (2007-11-04). "Treehouse of Horror XVIII". The Simpsons. Season 19. Episode 05. Fox.
Jump up ^ Kogen, Jay (2002). The Simpsons season 2 DVD commentary for the episode "Treehouse of Horror" (DVD). 20th Century Fox.
Jump up ^ O'Brien, Conan (2004). The Simpsons season 5 DVD commentary for the episode "Treehouse of Horror IV" (DVD). 20th Century Fox.
Jump up ^ Daniels, Greg (2004). The Simpsons season 5 DVD commentary for the episode "Treehouse of Horror IV" (DVD). 20th Century Fox.
Jump up ^ Weinstein, Josh (2004). The Simpsons season 5 DVD commentary for the episode "Treehouse of Horror IV" (DVD). 20th Century Fox.
Jump up ^ Mirkin, David (2004). The Simpsons season 5 DVD commentary for the episode "Treehouse of Horror IV" (DVD). 20th Century Fox.
Jump up ^ Mirkin, David (2005). The Simpsons season 6 DVD commentary for the episode "Treehouse of Horror V" (DVD). 20th Century Fox.
Jump up ^ Daniels, Greg (2005). The Simpsons season 6 DVD commentary for the episode "Treehouse of Horror V" (DVD). 20th Century Fox.
Jump up ^ Cohen, David X (2005). The Simpsons season 6 DVD commentary for the episode "Treehouse of Horror V" (DVD). 20th Century Fox.
^ Jump up to: a b Oakley, Bill (2005). The Simpsons season 7 DVD commentary for the episode "Treehouse of Horror VI" (DVD). 20th Century Fox.
Jump up ^ Cohen, David X (2005). The Simpsons season 7 DVD commentary for the episode "Treehouse of Horror VI" (DVD). 20th Century Fox.
Jump up ^ Keeler, Ken (2006). The Simpsons season 8 DVD commentary for the episode "Treehouse of Horror VII" (DVD). 20th Century Fox.
Jump up ^ Greaney, Dan (2006). The Simpsons season 8 DVD commentary for the episode "Treehouse of Horror VII" (DVD). 20th Century Fox.
Jump up ^ Cohen, David X (2006). The Simpsons season 8 DVD commentary for the episode "Treehouse of Horror VII" (DVD). 20th Century Fox.
^ Jump up to: a b Scully, Mike (2006). The Simpsons season 9 DVD commentary for the episode "Treehouse of Horror VIII" (DVD). 20th Century Fox.
Jump up ^ Cohen, David X (2006). The Simpsons season 9 DVD commentary for the episode "Treehouse of Horror VIII" (DVD). 20th Century Fox.
Jump up ^ Cary, Donick (2007). The Simpsons season 10 DVD commentary for the episode "Treehouse of Horror IX" (DVD). 20th Century Fox.
Jump up ^ Scully, Mike (2007). The Simpsons season 10 DVD commentary for the episode "Treehouse of Horror IX" (DVD). 20th Century Fox.
Jump up ^ Cohen, David X (2007). The Simpsons season 10 DVD commentary for the episode "Treehouse of Horror IX" (DVD). 20th Century Fox.
Jump up ^ Cary, Donick (2008). The Simpsons season 11 DVD commentary for the episode "Treehouse of Horror X" (DVD). 20th Century Fox.
Jump up ^ Long, Tim (2008). The Simpsons season 11 DVD commentary for the episode "Treehouse of Horror X" (DVD). 20th Century Fox.
Jump up ^ Hauge, Ron (2008). The Simpsons season 11 DVD commentary for the episode "Treehouse of Horror X" (DVD). 20th Century Fox.
Jump up ^ LaZebnik, Rob (2009). The Simpsons season 12 DVD commentary for the episode "Treehouse of Horror XI" (DVD). 20th Century Fox.
Jump up ^ Frink, John; Payne, Don (2009). The Simpsons season 12 DVD commentary for the episode "Treehouse of Horror XI" (DVD). 20th Century Fox.
Jump up ^ Scully, Mike (2009). The Simpsons season 12 DVD commentary for the episode "Treehouse of Horror XI" (DVD). 20th Century Fox.
Bibliography
Gimple, Scott M.; Matt Groening (December 1, 1999). The Simpsons Forever!: A Complete Guide to Our Favorite Family ...Continued. HarperCollins. ISBN 978-0-06-098763-3.
Groening, Matt (1997). Richmond, Ray; Coffman, Antonia, eds. The Simpsons: A Complete Guide to Our Favorite Family (1st ed.). New York: HarperPerennial. ISBN 978-0-06-095252-5. LCCN 98141857. OCLC 37796735. OL 433519M.
McCann, Jesse L.; Matt Groening (2002). The Simpsons Beyond Forever!: A Complete Guide to Our Favorite Family ...Still Continued. HarperCollins. ISBN 0-06-050592-3.
McCann, Jesse L.; Matt Groening (2005). The Simpsons One Step Beyond Forever!: A Complete Guide to Our Favorite Family ...Continued Yet Again. HarperCollins. ISBN 0-06-081754-2.
Turner, Chris (2004). Planet Simpson: How a Cartoon Masterpiece Documented an Era and Defined a Generation. Foreword by Douglas Coupland. (1st ed.). Toronto: Random House Canada. ISBN 978-0-679-31318-2. OCLC 55682258.
External links[edit]
Official episode guide at the Fox website TheSimpsons.com. Retrieved on October 25, 2010
Treehouse of Horror I, II, III, IV, V, VI, VII, VIII, IX, X, XI, XII, XIII, XIV, XV, XVI, XVII, XVIII, XIX, XX
Episode guide from Warren Martyn and Adrian Wood's book "I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide" on the BBC website. November 10, 2007
Treehouse of Horror I, II, III, IV, V, VI, VII, VIII, IX
[show]
v
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The Simpsons Treehouse of Horror episodes
I
II
III
IV
V
VI
VII
VIII
IX
X
XI
XII
XIII
XIV
XV
XVI
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Area codes 303 and 720
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Clickable map of Colorado area codes in blue (with border states).[1]
Area codes 303 and 720 are telephone area codes serving the north-central portion of the state of Colorado. They cover Denver, Lakewood, Littleton, Boulder, Longmont, Aurora, Castle Rock and most of the Front Range. Area code 303 is the original area code, while area code 720 is an overlay, meaning that the same physical service area is served by both area codes (303 and 720) and that ten-digit dialing is required for all calls made within the service area.
Contents
[hide]
1 History
2 Local calling
3 See also
4 References
5 External links
History[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2017) (Learn how and when to remove this template message)
Area code 303 was one of the original area codes put into service in 1947, and originally covered the entire state of Colorado. Despite Colorado's dramatic growth during the second half of the 20th century (especially in the Denver area), it remained the sole area code in Colorado for over 40 years. By the late 1980s, an impending number shortage made a split necessary. On March 5, 1988, southeastern Colorado, including Colorado Springs and Pueblo, became area code 719. The northeastern and western portions of area code 303, including Fort Collins, Grand Junction, Vail and Aspen, switched to area code 970 on April 2, 1995, reducing 303 to cover Denver and the Front Range. With the 1995 split, 303 is the only Colorado area code that does not border another state.
The 1995 split was intended as a long-term solution. However, within two years 303 was close to exhaustion once again. The Front Range is home not only to most of Colorado's landlines, but also most of the state's cell phones, fax machines and pagers. To solve this problem, 720 was activated as an overlay on June 1, 1998.
Local calling[edit]
With the exception of the Roggen area (which has local calling only with itself), Brighton, and Wiggins,[2] the entire 303/720 area is a local calling zone, one of the largest in the western United States, meaning no long-distance charges are applied to any calls made from one phone to another within the area.
With the exception of Roggen, all users in the 303/720 area code must dial all ten digits to reach a destination phone, even if that phone is next door. Some users in the area abbreviate the two area codes to a single digit with a slash for easy notation. So 303-555-1212 is written as 3/555-1212 and 720-555-1212 becomes 7/555-1212.[citation needed]
See also[edit]
List of Colorado area codes
References[edit]
Jump up ^ "Area Codes Map, Colorado". NANPA. Retrieved 2018-04-24.
Jump up ^ "Local Calling Guide". Retrieved September 30, 2012.
External links[edit]
Localcallingguide.com NPA 303
Localcallingguide.com NPA 720
Colorado area codes: 303/720, 719, 970
North: 970
West: 970 Area code 303 / 720 East: 719
South: 719
Coordinates: 40°N 105°W / 40°N 105°W / 40; -105
Retrieved from "https://en.wikipedia.org/w/index.php?title=Area_codes_303_and_720&oldid=838036452"
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Choi Sung-bong
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This article's tone or style may not reflect the encyclopedic tone used on Wikipedia. See Wikipedia's guide to writing better articles for suggestions. (December 2013) (Learn how and when to remove this template message)
Sungbong Choi
Native name
최성봉
崔聖奉
Born
(1990-02-18) February 18, 1990 (age 27)
Seoul, South Korea
Genres
Vocal, Popera, Classical crossover
Occupation(s)
Artist, author
Labels
Sony Music Entertainment, Bongbong Company
Website
www.sungbongchoi.co.kr
Choi Sung-bong
Hangul
최성봉
Hanja
崔聖奉
Revised Romanization
Choe Seongbong
McCune–Reischauer
Ch'oe Sŏngbong
Sungbong Choi (崔聖奉, born in February 18, 1990) is an artist of the Republic of Korea. After passing qualification examinations for elementary school and middle school, he graduated from Dae-Jeon Art High School, and made his famous debut on June 4 on Korea’s Got Talent 2011. He was the first runner-up of the talent show.[1]
Contents
[hide]
1 Early life
1.1 Education
2 Career
2.1 Korea’s Got Talent
2.2 YouTube sensation
2.3 Controversy
2.4 Entertainment
3 Music
3.1 Artistry – Crossover tenor
3.2 Performances
3.3 Album
4 Essay
5 Broadcasting and Interviews
5.1 Outline
5.2 TV shows & Interviews
5.3 Magazine Article Features
5.4 Advertisement
6 Philanthropy
6.1 Honorary Ambassador
6.2 Talent Donation
6.3 Support Activity
7 Award
8 See also
9 References
10 External links
Early life[edit]
Sungbong Choi was born in Seoul, and was abandoned at an orphanage when he was three. He ran away from the orphanage to escape physical abuse, took a bus to Daejeon, and started living in the red light districts.[2] His approach to Jeong-So Park for a music lesson was a life-changing event. Jeong-So Park agreed to teach him for free and got him more support from the church and ChildFund Korea.[3][4]
Education[edit]
After passing elementary school and middle school through qualification examinations, [5] Choi graduated from Dae-Jeon Art High School, and he is currently studying at the Department of Cultural Art Management at Kyung-Hee Cyber University. [6] [7]
During his troubled youth, Choi claims he hid at a night school when he was 14 to escape area gang members. He learned how to read and write and applied for qualification examinations to pass elementary and middle school and enter high school. With hopes of learning music and spending his school years with friends, he entered Dae-Jeon Art High School. To earn school tuition fee and private lesson fees, he worked at a delivery service, but he suffered a grave injury while working the night shift. Choi seriously thought about dropping out of high school, and his music teacher testified that he was often absent because of the underprivileged surroundings. He gained admission to Hanyang University, but due to financial difficulties, was unable to pursue undergraduate education. Instead, he spent his days working as a day laborer.
Career[edit]
Korea’s Got Talent[edit]
On 6 June 2011, Choi's performance of Ennio Morricone's "Nella Fantasia" on Korea's Got Talent moved judges and audience members to tears. He introduced himself as a manual laborer who had made a living selling gum and energy drinks for ten years. All three judges, Kolleen Park, Jang Jin and Song Yun-ah, were impressed with his vocal talent. Choi advanced to the finals of the competition, finishing second by only 280 votes.
YouTube sensation[edit]
Choi's performance clip was posted to YouTube and triggered a worldwide Internet sensation, receiving praise from pop stars Justin Bieber, BoA, Jung-Hwa Um, several hundred thousand fans on Facebook and also political figures including South Korea's former president Lee-Myung-Park. One version with English subtitles[8] has triggered international press interest [9][10] and a worldwide view that Choi was "the next Susan Boyle". The video itself has received over 168,201,756 views as of May 31, 2017, and the number is still rising.
Controversy[edit]
On 4 June 2011, after his first appearance on the show, some people accused him of concealing the fact that he had graduated from art high school although he was rarely able to attend classes due to his financial situation and was said to have received his diploma out of pity.[11]
The KGT production team explained that “It was cut from the film during editing. He stated that he'd graduated from art high school at the second local tryout, and the judges, crews and hundreds of audience members heard that.” KGT later broadcast the re-edited version including the statement.
Entertainment[edit]
After his appearance on KGT, other major entertainment companies tried to persuade Choi to sign contracts with them and he signed up with Sony Music Korea Inc. but cancelled the contract in December 2011. He is currently with Bongbong Company.[12]
Music[edit]
Artistry – Crossover tenor[edit]
CNN commented that “His powerful baritone voice sounds as if it belongs to a man twice his age and build.” [13] He is currently experimenting with different genres, including Crossover. His vocal tone is soft and emotionally appealing, drawing on his life experiences.
Performances[edit]
Invitation Performance by Korean President, Charity performances and speeches
Invitation Performance by Chairman of Cisco [San Diego, U.S.A, 2012.04]
You Fest Main Final Concert (with Paul Potts) [Madrid, Spain, 2012.09]
Singing the Korean National Anthem at the inaugural ceremony of London Olympic [Seoul, 2012.07~08]
Conducting Chorus of Global Multicultural Festival [Seoul, 2013.05]
Halftime Performance at Suwon International Olympic “Peace cup” [Suwon, 2012.07]
Teenager’s Healing Concert by Ministry of Environment [Seoul, 2012.07]
Singing the Korean National Anthem at the National Assembly on Constitution Day (With the Millennium Symphony) [Seoul, 2012.07]
Andy – Live In Concert at the Greek Theatre [LA, U.S.A, 2012.08]
Accompanied Performance with Seoul Philharmonic
Album[edit]
Featuring Korea's Got Talent // Nella Fantasia, Cinema Paradiso [Sony Music] [2011]
Featuring Popera Vocalist Park Jung So Nella Fantasia // Nella Fantasia [2012]
Featuring Popera Vocalist Park Jung So Because He Lives // Amazing Grace [2012]
Essay[edit]
Choi wrote a book entitled Singing is My Life – Memoir of My Journey from Homelessness to Fame (published by Mun Hak Dong Ne, Korea) about his life and career, which has now become a best seller. He said that he does not want to live his life shackled to his past and that he wrote the book in gratitude for the attention and love he has received, which has been of great comfort to him.
Broadcasting and Interviews[edit]
Outline[edit]
Choi has appeared on music shows, Documentary films and talk shows both Korea and overseas. He appeared with Justin Bieber on the Spanish TV programme El Hormiguero. CNN[14] and ABC[15] headlined the interview with him. Choi said that he wants to continue to overcome his experiences of the past 22 years. “It is a blessing that I can live my life without starving, being abused and freezing. I’ll keep taking on challenges and trying my best."
TV shows & Interviews[edit]
Korea's Got Talent season 1 [tvN 2011.06]
Live Talk Show Taxi [tvN, 2011.09]
Back Ji Yeon’s People inside [tvN, 2011.09]
Documentary Film Rebel of 3 color talent [tvN, 2011.09]
Story on Kind Ms.Mi-sun [tvN, 2011.11]
Opera star 2012 [tvN, 2012.02]
Morning Garden [KBS1, 2012.05]
El Hormiguero [Antena3(Spain), 2012.05]
KBS Speech 100℃ [KBS1, 2012.06]
MBN News square [MBN, 2013. 02]
Book club, CBS, CTS, CGV, TBS etc.……
Magazine Article Features[edit]
Lady Kyung Hyang [KOREA, 2011,2013]
Korean Daily 100℃ [KOREA, 2012],
Woman Sense [KOREA, 2013]
Woman’s life [KOREA,2013] etc.…
Advertisement[edit]
Public Advertisement for Election Committee [2012]
Radio Campaign “Wait a Minute” [MBC]
The Korea Highway Corporation “Belt Song”
Philanthropy[edit]
Honorary Ambassador[edit]
Choi is an honorary ambassador of ChildFund Korea, the organization which helped him to improve his own life. He said that he won’t just tell the children to ‘have hope and dream’, but he wants to help them practically by giving them a chance of a better life. He is currently assisting starving children, orphans and foster families and he is also an honorary ambassador of the Chang Dong Social Welfare Center.
Talent Donation[edit]
“People who suffer have feelings that can’t explain in language. And I hope my performance give consolation and uplifting to them.” He does performances and speeches for the neglected classes of people – multicultural families, single moms, Juvenile Hall, Hospice Centers etc.
Support Activity[edit]
He sends money or goods to those who need, with talent donation activity.
Award[edit]
Semifinal Winner of Korea’s Got Talent Season 1
9th Candle Award by Pop Culture Critic of College Union
New Artist by Foreign Correspondents Club
See also[edit]
Music portal
Korea portal
List of YouTube personalities
List of South Korean television series
List of South Korean musicians
Television in South Korea
References[edit]
Jump up ^ "Street boy-turned-singer ends reality show journey as runner-up". Retrieved August 21, 2011.
Jump up ^ "Sungbong Choi - Susan Boyle of South Korea". Starworld. Retrieved May 3, 2014.
Jump up ^ "The Story of Sung-Bong Choi". sungbongchoidotcom.blogspot.com. Retrieved 2017-02-20.
Jump up ^ Sungbongchoidot (2012-07-01), Jeong-So Park talks about meeting Sung-Bong Choi for the first time., retrieved 2017-02-20
Jump up ^ "Paul Potts of Korea "Learnt how to read and write later on than most others". Newsen. Retrieved May 3, 2014.
Jump up ^ "Paul Potts of Korea becomes a freshman of Department of Culture and Arts Management 2013". KHCU. Retrieved Jan 31, 2013.
Jump up ^ "Korean 'Paul Potts' will go to college next month". The Korea Times. Retrieved Jan 24, 2013.
Jump up ^ https://www.youtube.com/watch?v=BewknNW2b8Y
Jump up ^ Time. 2011-06-07 http://newsfeed.time.com/2011/06/07/the-new-susan-boyle-koreas-got-talent-singer-puts-judges-in-tears/. Missing or empty |title= (help)
Jump up ^ CBS News http://www.cbsnews.com/news/the-next-susan-boyle-sung-bong-choi-on-koreas-got-talent/. Missing or empty |title= (help)
Jump up ^ "Korean Susan Boyle: 22-Year-Old Sung-Bong Choi Sings on Korea's Got Talent". TIME. 2011-05-27. Retrieved 2011-06-08.
Jump up ^ http://www.sungbongchoi.co.kr
Jump up ^ "Meet South Korea's answer to Susan Boyle". CNN. 2011-07-20.
Jump up ^ "Meet South Korea's answer to Susan Boyle". CNN. 2011-07-20.
Jump up ^ http://abcnews.go.com/International/koreas-susan-boyle-choi-sung-bongs-overcomes-troubled/story?id=14348183
External links[edit]
The Official Website of Sungbong Choi
Retrieved from "https://en.wikipedia.org/w/index.php?title=Choi_Sung-bong&oldid=814617081"
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