Colored pencils

Color or colour (see spelling differences) is the visual perceptual property corresponding in humans to the categories called red, green, blue, and others. Color derives from the spectrum of light (distribution of light power versus wavelength) interacting in the eye with the spectral sensitivities of the light receptors. Color categories and physical specifications of color are also associated with objects, materials, light sources, etc., based on their physical properties such as light absorption, reflection, or emission spectra. By defining a color space, colors can be identified numerically by their coordinates.

Because perception of color stems from the varying spectral sensitivity of different types of cone cells in the retina to different parts of the spectrum, colors may be defined and quantified by the degree to which they stimulate these cells. These physical or physiological quantifications of color, however, do not fully explain the psychophysical perception of color appearance.

The science of color is sometimes called chromatics, chromatography, colorimetry, or simply color science. It includes the perception of color by the human eye and brain, the origin of color in materials, color theory in art, and the physics of electromagnetic radiation in the visible range (that is, what we commonly refer to simply as light).

Physics[link]

Continuous optical spectrum rendered into the sRGB color space.

Electromagnetic radiation is characterized by its wavelength (or frequency) and its intensity. When the wavelength is within the visible spectrum (the range of wavelengths humans can perceive, approximately from 390 nm to 750 nm), it is known as "visible light".

Most light sources emit light at many different wavelengths; a source's spectrum is a distribution giving its intensity at each wavelength. Although the spectrum of light arriving at the eye from a given direction determines the color sensation in that direction, there are many more possible spectral combinations than color sensations. In fact, one may formally define a color as a class of spectra that give rise to the same color sensation, although such classes would vary widely among different species, and to a lesser extent among individuals within the same species. In each such class the members are called metamers of the color in question.

Spectral colors[link]

The familiar colors of the rainbow in the spectrum – named using the Latin word for appearance or apparition by Isaac Newton in 1671 – include all those colors that can be produced by visible light of a single wavelength only, the pure spectral or monochromatic colors. The table at right shows approximate frequencies (in terahertz) and wavelengths (in nanometers) for various pure spectral colors. The wavelengths are measured in air or vacuum (see refraction).

The color table should not be interpreted as a definitive list – the pure spectral colors form a continuous spectrum, and how it is divided into distinct colors linguistically is a matter of culture and historical contingency (although people everywhere have been shown to perceive colors in the same way^[2]). A common list identifies six main bands: red, orange, yellow, green, blue, and violet. Newton's conception included a seventh color, indigo, between blue and violet. Optical scientists Hardy and Perrin list indigo as between 446 and 464 nm wavelength.^[3]

The intensity of a spectral color, relative to the context in which it is viewed, may alter its perception considerably; for example, a low-intensity orange-yellow is brown, and a low-intensity yellow-green is olive-green.

For discussion of non-spectral colors, see below.

Color of objects[link]

The color of an object depends on both the physics of the object in its environment and the characteristics of the perceiving eye and brain. Physically, objects can be said to have the color of the light leaving their surfaces, which normally depends on the spectrum of the incident illumination and the reflectance properties of the surface, as well as potentially on the angles of illumination and viewing. Some objects not only reflect light, but also transmit light or emit light themselves (see below), which contribute to the color also. And a viewer's perception of the object's color depends not only on the spectrum of the light leaving its surface, but also on a host of contextual cues, so that the color tends to be perceived as relatively constant: that is, relatively independent of the lighting spectrum, viewing angle, etc. This effect is known as color constancy.

The upper disk and the lower disk have exactly the same objective color, and are in identical gray surroundings; based on context differences, humans perceive the squares as having different reflectances, and may interpret the colors as different color categories; see checker shadow illusion.

Some generalizations of the physics can be drawn, neglecting perceptual effects for now:

• Light arriving at an opaque surface is either reflected "specularly" (that is, in the manner of a mirror), scattered (that is, reflected with diffuse scattering), or absorbed – or some combination of these.
• Opaque objects that do not reflect specularly (which tend to have rough surfaces) have their color determined by which wavelengths of light they scatter more and which they scatter less (with the light that is not scattered being absorbed). If objects scatter all wavelengths, they appear white. If they absorb all wavelengths, they appear black.
• Opaque objects that specularly reflect light of different wavelengths with different efficiencies look like mirrors tinted with colors determined by those differences. An object that reflects some fraction of impinging light and absorbs the rest may look black but also be faintly reflective; examples are black objects coated with layers of enamel or lacquer.
• Objects that transmit light are either translucent (scattering the transmitted light) or transparent (not scattering the transmitted light). If they also absorb (or reflect) light of various wavelengths differentially, they appear tinted with a color determined by the nature of that absorption (or that reflectance).
• Objects may emit light that they generate themselves, rather than merely reflecting or transmitting light. They may do so because of their elevated temperature (they are then said to be incandescent), as a result of certain chemical reactions (a phenomenon called chemoluminescence), or for other reasons (see the articles Phosphorescence and List of light sources).
• Objects may absorb light and then as a consequence emit light that has different properties. They are then called fluorescent (if light is emitted only while light is absorbed) or phosphorescent (if light is emitted even after light ceases to be absorbed; this term is also sometimes loosely applied to light emitted because of chemical reactions).

For further treatment of the color of objects, see structural color, below.

To summarize, the color of an object is a complex result of its surface properties, its transmission properties, and its emission properties, all of which factors contribute to the mix of wavelengths in the light leaving the surface of the object. The perceived color is then further conditioned by the nature of the ambient illumination, and by the color properties of other objects nearby, via the effect known as color constancy and via other characteristics of the perceiving eye and brain.

Perception[link]

Normalized typical human cone cell responses (S, M, and L types) to monochromatic spectral stimuli

Development of theories of color vision[link]

Although Aristotle and other ancient scientists had already written on the nature of light and color vision, it was not until Newton that light was identified as the source of the color sensation. In 1810, Goethe published his comprehensive Theory of Colors in which he described the physiological effects of color.

In 1801 Thomas Young proposed his trichromatic theory, based on the observation that any color could be matched with a combination of three lights. This theory was later refined by James Clerk Maxwell and Hermann von Helmholtz. As Helmholtz puts it, "the principles of Newton's law of mixture were experimentally confirmed by Maxwell in 1856. Young's theory of color sensations, like so much else that this marvellous investigator achieved in advance of his time, remained unnoticed until Maxwell directed attention to it."^[4]

At the same time as Helmholtz, Ewald Hering developed the opponent process theory of color, noting that color blindness and afterimages typically come in opponent pairs (red-green, blue-orange, yellow-purple, and black-white). Ultimately these two theories were synthesized in 1957 by Hurvich and Jameson, who showed that retinal processing corresponds to the trichromatic theory, while processing at the level of the lateral geniculate nucleus corresponds to the opponent theory.^[5]

In 1931, an international group of experts known as the Commission internationale de l'éclairage (CIE) developed a mathematical color model, which mapped out the space of observable colors and assigned a set of three numbers to each.

Color in the eye[link]

This image (when viewed in full size, 1000 pixels wide) contains 1 million pixels, each of a different color. The human eye can distinguish about 10 million different colors.^[6]

The ability of the human eye to distinguish colors is based upon the varying sensitivity of different cells in the retina to light of different wavelengths. Humans being trichromatic, the retina contains three types of color receptor cells, or cones. One type, relatively distinct from the other two, is most responsive to light that we perceive as violet, with wavelengths around 420 nm; cones of this type are sometimes called short-wavelength cones, S cones, or blue cones. The other two types are closely related genetically and chemically. One of them, sometimes called long-wavelength cones, L cones, or red cones, is most sensitive to light we perceive as greenish yellow, with wavelengths around 564 nm; the other type, known as middle-wavelength cones, M cones, or green cones is most sensitive to light perceived as green, with wavelengths around 534 nm.

Light, no matter how complex its composition of wavelengths, is reduced to three color components by the eye. For each location in the visual field, the three types of cones yield three signals based on the extent to which each is stimulated. These amounts of stimulation are sometimes called tristimulus values.

The response curve as a function of wavelength for each type of cone is illustrated above. Because the curves overlap, some tristimulus values do not occur for any incoming light combination. For example, it is not possible to stimulate only the mid-wavelength (so-called "green") cones; the other cones will inevitably be stimulated to some degree at the same time. The set of all possible tristimulus values determines the human color space. It has been estimated that humans can distinguish roughly 10 million different colors.^[6]

The other type of light-sensitive cell in the eye, the rod, has a different response curve. In normal situations, when light is bright enough to strongly stimulate the cones, rods play virtually no role in vision at all.^[7] On the other hand, in dim light, the cones are understimulated leaving only the signal from the rods, resulting in a colorless response. (Furthermore, the rods are barely sensitive to light in the "red" range.) In certain conditions of intermediate illumination, the rod response and a weak cone response can together result in color discriminations not accounted for by cone responses alone. These effects, combined, are summarized also in the Kruithof curve, that describes the change of color perception and pleasingness of light as function of temperature and intensity.

Color in the brain[link]

The visual dorsal stream (green) and ventral stream (purple) are shown. The ventral stream is responsible for color perception.

While the mechanisms of color vision at the level of the retina are well-described in terms of tristimulus values (see above), color processing after that point is organized differently. A dominant theory of color vision proposes that color information is transmitted out of the eye by three opponent processes, or opponent channels, each constructed from the raw output of the cones: a red–green channel, a blue–yellow channel, and a black–white "luminance" channel. This theory has been supported by neurobiology, and accounts for the structure of our subjective color experience. Specifically, it explains why we cannot perceive a "reddish green" or "yellowish blue", and it predicts the color wheel: it is the collection of colors for which at least one of the two color channels measures a value at one of its extremes.

The exact nature of color perception beyond the processing already described, and indeed the status of color as a feature of the perceived world or rather as a feature of our perception of the world, is a matter of complex and continuing philosophical dispute (see qualia).

Nonstandard color perception[link]

Color deficiency[link]

If one or more types of a person's color-sensing cones are missing or less responsive than normal to incoming light, that person can distinguish fewer colors and is said to be color deficient or color blind (though this latter term can be misleading; almost all color deficient individuals can distinguish at least some colors). Some kinds of color deficiency are caused by anomalies in the number or nature of cones in the retina. Others (like central or cortical achromatopsia) are caused by neural anomalies in those parts of the brain where visual processing takes place.

Tetrachromacy[link]

While most humans are trichromatic (having three types of color receptors), many animals, known as tetrachromats, have four types. These include some species of spiders, most marsupials, birds, reptiles, and many species of fish. Other species are sensitive to only two axes of color or do not perceive color at all; these are called dichromats and monochromats respectively. A distinction is made between retinal tetrachromacy (having four pigments in cone cells in the retina, compared to three in trichromats) and functional tetrachromacy (having the ability to make enhanced color discriminations based on that retinal difference). As many as half of all women are retinal tetrachromats.^[8]:p.256 The phenomenon arises when an individual receives two slightly different copies of the gene for either the medium- or long-wavelength cones, which are carried on the x-chromosome. To have two different genes, a person must have two x-chromosomes, which is why the phenomenon only occurs in women.^[8] For some of these retinal tetrachromats, color discriminations are enhanced, making them functional tetrachromats.^[8]

Synesthesia[link]

In certain forms of synesthesia, perceiving letters and numbers (grapheme–color synesthesia) or hearing musical sounds (music–color synesthesia) will lead to the unusual additional experiences of seeing colors. Behavioral and functional neuroimaging experiments have demonstrated that these color experiences lead to changes in behavioral tasks and lead to increased activation of brain regions involved in color perception, thus demonstrating their reality, and similarity to real color percepts, albeit evoked through a non-standard route.

Afterimages[link]

An example of an Afterimage

After exposure to strong light in their sensitivity range, photoreceptors of a given type become desensitized. For a few seconds after the light ceases, they will continue to signal less strongly than they otherwise would. Colors observed during that period will appear to lack the color component detected by the desensitized photoreceptors. This effect is responsible for the phenomenon of afterimages, in which the eye may continue to see a bright figure after looking away from it, but in a complementary color.

Afterimage effects have also been utilized by artists, including Vincent van Gogh.

Color constancy[link]

There is an interesting phenomenon which occurs when an artist uses a limited color palette: the eye tends to compensate by seeing any gray or neutral color as the color which is missing from the color wheel. For example, in a limited palette consisting of red, yellow, black, and white, a mixture of yellow and black will appear as a variety of green, a mixture of red and black will appear as a variety of purple, and pure gray will appear bluish.^[9]

The trichromatic theory discussed above is strictly true when the visual system is in a fixed state of adaptation. In reality, the visual system is constantly adapting to changes in the environment and compares the various colors in a scene to reduce the effects of the illumination. If a scene is illuminated with one light, and then with another, as long as the difference between the light sources stays within a reasonable range, the colors in the scene appear relatively constant to us. This was studied by Edwin Land in the 1970s and led to his retinex theory of color constancy.

It should be noted, that both phenomena described above are readily explained and mathematical modeled with modern theories of chromatic adaptation and color appearance (e.g. CIECAM02, iCAM).^[10] There is no need to dismiss the trichromatic theory of vision, but rather it must be enhanced with an understanding of how the visual system adapts (adjusts) to changes in the viewing environment.

Color naming[link]

Colors vary in several different ways, including hue (shades of red, orange, yellow, green, blue, and violet), saturation, brightness, and gloss. Some color words are derived from the name of an object of that color, such as "orange" or "salmon", while others are abstract, like "red".

In the 1969 study Basic Color Terms: Their Universality and Evolution, Brent Berlin and Paul Kay describe a pattern in naming "basic" colors (like "red" but not "red-orange" or "dark red" or "blood red", which are "shades" of red). All languages that have two "basic" color names distinguish dark/cool colors from bright/warm colors. The next colors to be distinguished are usually red and then yellow or green. All languages with six "basic" colors include black, white, red, green, blue, and yellow. The pattern holds up to a set of twelve: black, gray, white, pink, red, orange, yellow, green, blue, purple, brown, and azure (distinct from blue in Russian and Italian, but not English).

Associations[link]

Individual colors have a variety of cultural associations such as national colors (in general described in individual color articles and color symbolism). The field of color psychology attempts to identify the effects of color on human emotion and activity. Chromotherapy is a form of alternative medicine attributed to various Eastern traditions. Colors have different associations in different countries and cultures.^[11]

Different colors have been demonstrated to have effects on cognition. For example, researchers at the University of Linz in Austria demonstrated that the color red significantly decreases cognitive functioning in men.^[12]

Spectral colors and color reproduction[link]

The CIE 1931 color space chromaticity diagram. The outer curved boundary is the spectral (or monochromatic) locus, with wavelengths shown in nanometers. The colors depicted depend on the color space of the device on which you are viewing the image, and therefore may not be a strictly accurate representation of the color at a particular position, and especially not for monochromatic colors.

Most light sources are mixtures of various wavelengths of light. Many such sources can still effectively produce a spectral color, as the eye cannot distinguish them from single-wavelength sources. For example, most computer displays reproduce the spectral color orange as a combination of red and green light; it appears orange because the red and green are mixed in the right proportions to allow the eye's cones to respond the way they do to the spectral color orange.

A useful concept in understanding the perceived color of a non-monochromatic light source is the dominant wavelength, which identifies the single wavelength of light that produces a sensation most similar to the light source. Dominant wavelength is roughly akin to hue.

There are many color perceptions that by definition cannot be pure spectral colors due to desaturation or because they are purples (mixtures of red and violet light, from opposite ends of the spectrum). Some examples of necessarily non-spectral colors are the achromatic colors (black, gray, and white) and colors such as pink, tan, and magenta.

Two different light spectra that have the same effect on the three color receptors in the human eye will be perceived as the same color. They are metamers of that color. This is exemplified by the white light emitted by fluorescent lamps, which typically has a spectrum of a few narrow bands, while daylight has a continuous spectrum. The human eye cannot tell the difference between such light spectra just by looking into the light source, although reflected colors from objects can look different. (This is often exploited; for example, to make fruit or tomatoes look more intensely red.)

Similarly, most human color perceptions can be generated by a mixture of three colors called primaries. This is used to reproduce color scenes in photography, printing, television, and other media. There are a number of methods or color spaces for specifying a color in terms of three particular primary colors. Each method has its advantages and disadvantages depending on the particular application.

No mixture of colors, however, can produce a fully pure color perceived as completely identical to a spectral color, although one can get very close for the longer wavelengths, where the chromaticity diagram above has a nearly straight edge. For example, mixing green light (530 nm) and blue light (460 nm) produces cyan light that is slightly desaturated, because response of the red color receptor would be greater to the green and blue light in the mixture than it would be to a pure cyan light at 485 nm that has the same intensity as the mixture of blue and green.

Because of this, and because the primaries in color printing systems generally are not pure themselves, the colors reproduced are never perfectly saturated colors, and so spectral colors cannot be matched exactly. However, natural scenes rarely contain fully saturated colors, thus such scenes can usually be approximated well by these systems. The range of colors that can be reproduced with a given color reproduction system is called the gamut. The CIE chromaticity diagram can be used to describe the gamut.

Another problem with color reproduction systems is connected with the acquisition devices, like cameras or scanners. The characteristics of the color sensors in the devices are often very far from the characteristics of the receptors in the human eye. In effect, acquisition of colors that have some special, often very "jagged", spectra caused for example by unusual lighting of the photographed scene can be relatively poor.

Species that have color receptors different from humans – such as bird species, which may have four receptors – can make color discriminations that humans cannot. A color reproduction system "tuned" to a human with normal color vision may give very inaccurate results for the other observers, human or non-human.

The different color response of different devices can be problematic if not properly managed. For color information stored and transferred in digital form, color management techniques, such as those based on ICC profiles, can help to avoid distortions of the reproduced colors. Color management does not circumvent the gamut limitations of particular output devices, but can assist in finding good mapping of input colors into the gamut that can be reproduced.

Pigments and reflective media[link]

Pigments are chemicals that selectively absorb and reflect different spectra of light. When a surface is painted with a pigment, light hitting the surface is reflected, minus some wavelengths. This subtraction of wavelengths produces the appearance of different colors. Most paints are a blend of several chemical pigments, intended to produce a reflection of a given color.

Pigment manufacturers assume the source light will be white, or of roughly equal intensity across the spectrum. If the light is not a pure white source (as in the case of nearly all forms of artificial lighting), the resulting spectrum will appear a slightly different color. Red paint, viewed under blue light, may appear black. Red paint is red because it reflects only the red components of the spectrum. Blue light, containing none of these, will create no reflection from red paint, creating the appearance of black.

Structural color[link]

Structural colors are colors caused by interference effects rather than by pigments. Color effects are produced when a material is scored with fine parallel lines, formed of one or more parallel thin layers, or otherwise composed of microstructures on the scale of the color's wavelength. If the microstructures are spaced randomly, light of shorter wavelengths will be scattered preferentially to produce Tyndall effect colors: the blue of the sky (Rayleigh scattering, caused by structures much smaller than the wavelength of light, in this case air molecules), the luster of opals, and the blue of human irises. If the microstructures are aligned in arrays, for example the array of pits in a CD, they behave as a diffraction grating: the grating reflects different wavelengths in different directions due to interference phenomena, separating mixed "white" light into light of different wavelengths. If the structure is one or more thin layers then it will reflect some wavelengths and transmit others, depending on the layers' thickness.

Structural color is studied in the field of thin-film optics. A layman's term that describes particularly the most ordered or the most changeable structural colors is iridescence. Structural color is responsible for the blues and greens of the feathers of many birds (the blue jay, for example), as well as certain butterfly wings and beetle shells. Variations in the pattern's spacing often give rise to an iridescent effect, as seen in peacock feathers, soap bubbles, films of oil, and mother of pearl, because the reflected color depends upon the viewing angle. Numerous scientists have carried out research in butterfly wings and beetle shells, including Isaac Newton and Robert Hooke. Since 1942, electron micrography has been used, advancing the development of products that exploit structural color, such as "photonic" cosmetics.^[13]

Additional terms[link]

• Colorfulness, chroma, purity, or saturation: how "intense" or "concentrated" a color is. Technical definitions distinguish between colorfulness, chroma, and saturation as distinct perceptual attributes and include purity as a physical quantity. These terms, and others related to light and color are internationally agreed upon and published in the CIE Lighting Vocabulary.^[14] More readily available texts on colorimetry also define and explain these terms.^[10][15]
• Dichromatism: a phenomenon where the hue is dependent on concentration and/or thickness of the absorbing substance.
• Hue: the color's direction from white, for example in a color wheel or chromaticity diagram.
• Shade: a color made darker by adding black.
• Tint: a color made lighter by adding white.
• Value, brightness, lightness, or luminosity: how light or dark a color is.

See also[link]

Find more about Color on Wikipedia's sister projects:
	Definitions and translations from Wiktionary
	Images and media from Commons

• Chromophore
• CIECAM02
• Color analysis
• Color mapping
• Complementary color
• Impossible color
• International Color Consortium
• International Commission on Illumination
• List of colors (compact version)
• Neutral color
• Pearlescent coating including Metal effect pigments
• Primary, secondary and tertiary colors
• Rainbow

References[link]

External links and sources[link]

• Bibliography Database on Color Theory, Buenos Aires University
• Color entry by Barry Maund in the Stanford Encyclopedia of Philosophy
• Why Should Engineers and Scientists Be Worried About Color?
• Robert Ridgway's A Nomenclature of Colors (1886) and Color Standards and Color Nomenclature (1912) - text-searchable digital facsimiles at Linda Hall Library
• Albert Henry Munsell's A Color Notation, (1907) at Project Gutenberg
• AIC, International Colour Association

lez:Ранг

Emma Louise Hewitt (born in Geelong, Australia) is a singer-songwriter and trance vocalist who lives in Amsterdam.

Biography[link]

Hewitt was the lead singer of the Australian rock band Missing Hours, with whom she released the eponymous debut album in October 2008. The band that she formed with her brother Anthony is currently no longer active, because both now live in Europe and are now working as songwriters of electronic dance music.^[1]

Although Emma Hewitt had a musical background in rock music, she released her debut single in 2007 in the field of progressive house. "Carry Me Away" was a collaboration with British DJ Chris Lake. The single reached number 11 in the Spanish singles charts as well as number 12 in Finland.^[2] The single was a total of 50 weeks in the Billboard Hot Dance Airplay charts in the United States and reached number 1 in December 2007.

After the success of her first single, she has worked with several trance artists such as Cosmic Gate, Gareth Emery, Dash Berlin and Ronski Speed. The single "Waiting", which she published with Dash Berlin in 2009, was ranked 25th in the Belgian singles charts. In Armin van Buurens popular radio show A State of Trance the single was elected by the audience with 2109 votes to the second best song of the year 2009.^[3] At the International Dance Music Awards 2010 "Waiting" was awarded as best HiNRG/Euro Track. She was nominated twice in the category Best Trance Track with "Waiting" and "Not Enough Time".^[4]

Discography[link]

As Missing Hours

• Missing Hours (2008)

As Emma Hewitt

• Burn the Sky Down (18 May 2012)^[5]

Singles

• 2012: Colours
• 2012: Miss You Paradise

Collaborations

• 2007: Chris Lake feat. Emma Hewitt – Carry Me Away (Hot Dance Airplay #1, Global Dance Tracks #28)
• 2009: Cosmic Gate feat. Emma Hewitt – Not Enough Time
• 2009: Serge Devant feat. Emma Hewitt – Take Me With You
• 2009: Dash Berlin feat. Emma Hewitt – Waiting
• 2009: Amurai feat. Emma Hewitt – Crucify Yourself
• 2010: Ronski Speed pres. Sun Decade feat. Emma Hewitt – Lasting Light
• 2010: Marcus Schössow & Reeves feat. Emma Hewitt – Light
• 2010: Gareth Emery with Emma Hewitt – I Will Be the Same
• 2010: Lange feat. Emma Hewitt – Live Forever
• 2011: Dash Berlin feat. Emma Hewitt – Disarm Yourself
• 2011: Allure feat. Emma Hewitt – No Goodbyes
• 2011: Allure feat. Emma Hewitt – Stay Forever
• 2011: Micky Slim feat. Emma Hewitt - Tonight
• 2011: Cosmic Gate feat. Emma Hewitt - Be Your Sound
• 2011: Cosmic Gate feat. Emma Hewitt - Calm Down
• 2012: Dash Berlin feat. Emma Hewitt – Like Spinning Plates

External links[link]

• Official website
• Emma Hewitt discography at Discogs
• Emma Hewitt on Myspace

References[link]

1. ^ beatsmedia.com: Beatsmedia exclusively interviews Emma Hewitt. Accessed 23 October 2010.
2. ^ swisscharts.com: Chris Lake feat. Emma Hewitt - Carry Me Away. Accessed 23 March 2010.
3. ^ A State of Trance, Episode 436. Accessed 23 October 2010.
4. ^ 25th Annual International Dance Music Awards Nominees and Winners. Accessed 27 March 2010.
5. ^ Emma Hewitt Announces Debut Album, BURN THE SKY DOWN. Accessed 2 May 2012.

Richard Ashcroft
Richard Ashcroft in 2005
Background information
Birth name	Richard Paul Steven Ashcroft
Born	(1971-09-11) 11 September 1971 (age 40) Billinge, England
Origin	Wigan, Lancashire England
Genres	Alternative rock, Britpop, Shoegazing, Space rock, Neo-psychedelia
Occupations	Singer-songwriter, composer
Instruments	Vocals, Guitar, Bass guitar, Drums, Piano, Keyboards, Wurlitzer, Organ, Melodica, Mellotron, Synthesizer
Years active	1990–present
Labels	Hut Records Virgin Records Parlophone
Associated acts	The Verve RPA & The United Nations of Sound UNKLE DJ Shadow Oasis The Chemical Brothers Pino Palladino Coldplay[1]
Website	richardashcroft.com

Richard Paul Steven Ashcroft (born 11 September 1971 in Billinge, Wigan, England)^[2] is an English singer-songwriter. He was the lead singer and occasional guitarist of alternative rock band The Verve from their formation in 1990 until their split in 1999, and continues as a lead vocalist working with guitars and keyboards. He became a successful solo artist in his own right, releasing three UK top three solo albums. The Verve reformed in 2007 but again broke up by summer 2009. Ashcroft then founded a new band, RPA & The United Nations of Sound, and released a new album on 19 July 2010.

Early life[link]

Ashcroft was the only son of office worker Frank and hairdresser Louise (maiden name Baxter); he also has two younger sisters.^[3] His middle name 'Paul' is the name of his father's brother. When Ashcroft was 11, his father died suddenly of a brain hemorrhage.^[3] Ashcroft soon "fell under the influence of his stepfather", who belonged to the Rosicrucians.^[4]

Ashcroft attended Up Holland High School, along with future bandmates Simon Jones, Peter Salisbury and Simon Tong,^[4] and then attended Winstanley College, where he met Nick McCabe.^[3] His teachers referred to him as "the cancer of the class",^[5] though one member of staff recalled him being "incredibly intelligent".^[6] Ashcroft was an avid football player, playing junior football for Wigan Athletic.^[7] For some time Ashcroft wanted to be a professional football player, idolising George Best, but as he grew older he lost interest in this, turning to music instead.^[8]

Richard channels his love of football with the occasional run out for The Legends and played in the Celtic FC vs Man U - The Legends game at Celtic Park on 9 August 2011.The Scottish Sun, 27 July 2011

The Verve[link]

Ashcroft formed The Verve (originally just Verve) in 1990 with McCabe, Jones and Salisbury. The band signed to Hut Records and became well known for their appetite for both psychedelic music and drugs. They also became a part of the Britpop movement. The band split in 1995, and around this time Ashcroft wrote a collection of songs he intended to release as his first solo album.^[9] However, by 1997 he had changed his mind and asked McCabe to return (alongside new member Tong), reforming The Verve and releasing the very successful album Urban Hymns. Ashcroft was at the forefront of the band's popularity, receiving an Ivor Novello Award for his songwriting^[10] and being referred to by the press as "the unmistakable face of the Number One rock band in England".^[11] However, the pressures of touring and the tensions within the band led to McCabe's departure in mid-1998 and the announcement of the band's break-up in April 1999.

In early 2007, Ashcroft made peace with McCabe and Jones and The Verve's reunion was announced in June. The band played gigs later that year and continued touring in 2008, headlining at several festivals around the world. A new album, Forth, was released in August.

In August 2009 it was announced by The Guardian that The Verve had broken up for the third time.

Solo career[link]

[edit] Alone with Everybody and Human Conditions: 2000–2004

Ashcroft's first solo single, "A Song for the Lovers", peaked at #3 in the UK charts in April.^[12] It was followed by the single "Money To Burn" which reached the UK Top 20 at #17.^[12] The album, Alone with Everybody, was released in June, reaching number 1 and receiving platinum status in the UK. Album reviews were generally positive.^[13] In September, a third single was released – "C'mon People (We're Making It Now)" – entering the charts at #21.^[12] Richard does not publish the lyrics to his songs in the inlay cards of his albums or singles as he feels they are personal to him.

Ashcroft began work on his second album Human Conditions in 2002. The lead single, "Check the Meaning", was released in early October, and peaked at #11 on the UK Singles Chart.^[12] The album was released later that month and reached #3 in the UK Album Chart.^[12] Reception to the album was largely negative.^[14] Despite the general panning, Coldplay's Chris Martin - a fan of both Ashcroft and The Verve - defended the album's merits which "made an impression" on Ashcroft.^[15] The appreciation shown would later result in a support slot for Ashcroft, serving as the opening act for Coldplay during a European tour.^[15] The album's second single, "Science of Silence", was released the following January and charted at #14 in the UK.^[12] On 26 March, Ashcroft made his first live appearance of 2003 at London's Royal Albert Hall as part of the third annual Teenage Cancer Trust charity fundraising event,^[16] before "Buy It in Bottles", the third and final single to be taken from the album, was released on 7 April, charting at #26.^[12]

Aside from a limited number of appearances in 2003, Ashcroft was absent from the music business for about two years. He later explained this in 2006, stating that "[e]veryone got it into their heads over the last few years that I was in my ivory tower like Lennon, baking bread all day. The fact of the matter was that I was bringing up kids".^[17]

[edit] Live 8 and Keys to the World: 2005–2007

Ashcroft began playing gigs again in mid-2005, and, on 2 July at the Live 8 concert in Hyde Park, Coldplay invited him to perform with them during their set. They performed The Verve's hit "Bitter Sweet Symphony", after having previously rehearsed the song in Crystal Palace. Ashcroft's performance of the song was introduced by Chris Martin as "the best song ever written, sung by the best singer in the world",^[7][15] helping to create renewed interest in Ashcroft. At Christmas 2005, a documentary entitled Live 8: A Bitter Sweet Symphony was aired on the BBC reliving moments of the day featuring a portion of Ashcroft's performance as the show's opening soundtrack.

After the disintegration of Hut Records in 2004, Ashcroft signed to Parlophone^[7] where he released his third solo album, Keys to the World, on 23 January 2006. The first single from the album, "Break the Night with Colour", was released on 9 January 2006, and entered the UK Singles Chart at number 3.^[12] Following his performance at Live 8, Ashcroft was booked as a support act for Coldplay's Twisted Logic Tour throughout North America and the UK, which started on 14 March in Ottawa, Canada. Ashcroft saw the support slot as "a good chance to play to a significant amount of people and say, ‘I’m back. And this is what I do’".^[15]

The album's second single, "Music Is Power", charted at number 20.^[12] On 18 April 2006, he recorded the Live from London EP, the ninth in a series of EPs released exclusively as digital downloads from Apple's iTunes Store. The EP was released just 6 days later on 24 April. With the release of Keys to the World, the general consensus was that Ashcroft was "back at the top of his musical game",^[15] as he announced his largest UK tour for years for May 2006, culminating in three nights at London's Brixton Academy. Following the tour, Ashcroft had hoped to perform two "Homecoming" shows at Wigan Athletic's 25,000 seater JJB Stadium in June 2006, but was unable to do so as the proposed venue lacked the "appropriate licence".^[18] As a consequence, he chose to play at Lancashire County Cricket Club in Old Trafford, in what was to be his biggest solo show to date. He was supported at the gig by acts such as Razorlight and The Feeling, whilst DJ Shadow joined Richard on stage during his set to perform "Lonely Soul", their UNKLE collaboration from 1998's Psyence Fiction LP.^[19] Another UK tour followed five months later, culminating in a show at Manchester's M.E.N. Arena on 30 November.^[14] Ashcroft did not tour Keys To The World outside of Europe.^[14]

Ashcroft hinted at the possible release of a new version of his previous single "C'mon People (We're Making It Now)" for the Bobby Moore Cancer Fund,^[20] which would coincide with England's participation in the 2006 Football World Cup, but the single never materialised. Instead, his next release was "Words Just Get in the Way", which charted lower than his previous single, peaking at #40 in the UK Singles Chart.^[12] On 4 December, the double a-side "Why Not Nothing" / "Sweet Brother Malcolm" was released on limited edition 7" vinyl.^[21]

On 11 December 2006, Ashcroft recorded a live performance for Live From Abbey Road^{[citation needed]}. The programme was broadcast in the UK on Channel 4 in March 2007, and in the USA on the Sundance Channel in June 2007.

RPA & The United Nations of Sound: 2009–present[link]

Ashcroft is contractually obligated to record another album for Parlophone.^[22] Ashcroft played a solo gig on 25 August 2008 as part of the Last Days of Summer Festival in Buckingham.^[23] The Verve broke up for a third time sometime between the last rehearsals in late 2008 and the summer of 2009. It was announced in August 2009 by a band's friend.

A b-side compilation was considered a possibility, as Richard's team has asked the fans through his site about their feelings on such an album, but it's now very unlikely. In December 2009, Richard contributed the lead soundtrack song for the documentary The Journey.^[24] The song, available for purchase at iTunes can be streamed and a video was posted at Ashcroft's site.^[25] Also, through his blog BRAIN, he has stated that he will release a new album in 2010. Sources reveal he has worked on some 20-30 new songs in New York, Los Angeles and London with producer No I.D., who Richard sought after because he liked his work in the Jay-Z song "D.O.A. (Death of Auto-Tune)" and read an interview where he states how many producers destroy records in order to boost sales.^[26]

Ashcroft is currently working with a new band called RPA & The United Nations of Sound, who have released a promo single from the upcoming album called "Are You Ready?", which was premiered exclusively on the NME website on 18 January 2010. From 9 April 2010 an exclusive RPA Club-only track, "Third Eye (Colombus Circle)", is also available as a download on his official website. The album "United Nations of Sound" (former working title "Redemption") and the first proper single "Born Again" were released on 19 July 2010. The full album leaked on 15 July and the NME started streaming the album the following day. The new sound seems to emulate many of Richard's influences described over the years in interviews and seems to close a circle for his solo career. Strings, beats, rock-guitar-riffs, voice-loops, ballads and heroic-choir-anthems are the core of the album's sound with Ashcroft's craft for pop tunes and unique melody-making. Also found in the songs are the ever-present spiritual lyrics for Richard, although here in fuller form.

After two months of silence, on 15 October Ashcroft released through his website a second fanclub-only track, "Here We Go Again". On the same day the song "Are You Ready?" was released as the first official single from the new album in the United States.^[27] During the same month Ashcroft had signed with the record company Razor & Tie in the United States. The radio edit of "Are You Ready?" is available for free on the US version of Richard's website.

The album United Nations of Sound was released across the Atlantic on 22 March 2011 under the name "Richard Ashcroft" and the lead single "Are You Ready?" was featured over the closing credits of the film The Adjustment Bureau in March 2011, along with the new song "Future's Bright", written and performed specifically for the film's opening by Richard and ten-time Oscar-nominated composer Thomas Newman.^[28]

For the US release of "Are You Ready?", Richard Ashcroft and Big Life Management commissioned Giorgio Testi for the promo – to be created out of live footage from a show at Shepherd’s Bush Empire. The video premiered on 7 February on the official website of Pulse Films, the production company.^[29]

On 1 March the song "Future's Bright" was premiered on Stereogum.^[30] On the official website of the movie The Adjustment Bureau there is also a video created for the song by director George Nolfi.^[31]

Personal life[link]

Ashcroft is married to Kate Radley, a former member of Spiritualized.^[32] They married in 1995 and it was years before it was publicly revealed that the pair had married. Together, they have two sons: Sonny, born in 2000, and Cassius, born in 2004. The family live in Ledbury in Herefordshire. Ashcroft is a Manchester United fan.

He is good friends with Oasis' Noel Gallagher, Liam Gallagher and Coldplay's Chris Martin (whom Ashcroft once thanked for "letting me be myself again"). The Gallagher brothers for a long time have expressed the greatest of respect to Ashcroft, with Noel fondly nicknaming Ashcroft 'Captain Rock'. The Oasis track "Cast No Shadow", from the successful 1995 album (What's the Story) Morning Glory? is dedicated to him, and it is believed that Ashcroft dedicated the title track of A Northern Soul to Gallagher as a response. Ashcroft also provided backing vocals on the Oasis song "All Around the World" in 1997, for Oasis' Be Here Now.

In a 2006 interview, Ashcroft mentioned taking Prozac to help him with clinical depression, but said that they didn't help, referring to the pills as "very, very synthetic." Ashcroft has said that he's always been "a depressive, someone who suffers from depression", and that music and creativity help him cope with his illness.^[33]

Controversy[link]

Controversy exists over The Verve's biggest hit, "Bitter Sweet Symphony", on which Ashcroft is the sole band member to share a co-writing credit.^[34] The song uses a sample of Andrew Oldham Orchestra's recording of The Rolling Stones' 1965 song "The Last Time". The Verve had negotiated this legally; however, The Rolling Stones' record company successfully sued and argued that they had used "too much." The Verve was subsequently forced to give ABKCO 100 percent of the royalties^[4] from "Bitter Sweet Symphony", and Mick Jagger and Keith Richards were given songwriting credits along with Ashcroft.^[34]

In 2006, he was arrested in Wiltshire after coming into a youth centre and asking to work with the teenagers present at the club. He refused to leave and employees called the police, resulting in Ashcroft being arrested and fined £80 for disorderly conduct.^[35]

Ashcroft stormed off stage after only one song at Australia's 2010 Splendour in the Grass festival at Woodford, apparently angry at the lack of attendance at his stage.^[36] He had been scheduled as one of three headliners but attendees mainly filled the stages of the other two headliners, alternative rockers The Pixies and local Australian dance act Empire of the Sun. A statement from Ashcroft's management posted on Richardashcroft.co.uk blamed the cancellation on his voice giving out. "After three gigs in two days, including a two-hour show in Sydney on Saturday night, we knew Richard would have to look after his voice for the Splendour In The Grass set so we cancelled all promotional activity for Sunday," the statement said. It continued: "It wasn't until he got on stage on Sunday night at Splendour that he realised his voice wouldn't make it through the set." Ashcroft was reportedly "ordered not to speak or sing for 72 hours" by a doctor.^[37]

Discography[link]

Albums[link]

Singles[link]

Promotional singles[link]

Charity singles[link]

EPs[link]

Cameos[link]

• "Lonely Soul" ~ UNKLE, on the album Psyence Fiction.
• "The Test" ~ The Chemical Brothers, on the album Come with Us.

References[link]

This article uses bare URLs for citations. Please consider adding full citations so that the article remains verifiable. Several templates and the Reflinks tool are available to assist in formatting. (Reflinks documentation) (January 2012)

External links[link]

• Official website (UK)
• Official website (US)
• Richard Ashcroft Online
• Richard Ashcroft at the Internet Movie Database