Professional ratings
Review scores
Source	Rating
Allmusic	[1]
Chicago Tribune	[2]

High Civilization is the Bee Gees' nineteenth original album (seventeenth worldwide), released in 1991. It was their last album recorded for Warner Bros. Records, after a four-year contract. Possibly in reaction to firm resistance from US radio to the previous two albums, E.S.P. (1987) and One (1989), which had done well in other countries, the US-based Warner Bros gave this one less promotion and did not issue remixes. Engineered by Femi Jiya, High Civilization found a new change for the Bee Gees sound, with heavier use of drum programming and electronic effects, giving a more modern dance feel to the production. Highlights from the album included the first single, "Secret Love", an up-tempo ballad, which was a top five hit in the UK, "When He's Gone", a heavier pop song, issued as the album's second single, and the sentimental ballad "The Only Love", released as the third and final single from the album. The soft ballad "Happy Ever After" was released a cassette-only single.

While it did not chart in the US, it reached #6 in Switzerland, #2 in Germany (reaching Platinum certification in both countries), #24 in the UK and sold 1.1 million copies worldwide.

Both High Civilization and Size Isn't Everything were the only post-RSO era albums not to feature tours of the US in their support, presumably due to health issues with Barry Gibb and lacklustre record sales. The band did play three dates in the UK though.

Despite the album's failure, the brothers would work with Femi Jiya again on the follow-up, Size Isn't Everything.

Track listing[link]

All songs composed by Barry, Robin and Maurice Gibb.

1. "High Civilization" – 5:31
2. "Secret Love" – 3:42
3. "When He's Gone" – 5:59
4. "Happy Ever After" – 6:17
5. "Party with No Name" – 4:56
6. "Ghost Train" – 6:04
7. "Dimensions" – 5:28
8. "The Only Love" – 5:36
9. "Human Sacrifice" – 5:42
10. "True Confessions" – 5:16 (Not included on cassette version)
11. "Evolution" – 5:37

"The Only Love" was written with a view to being covered. The Bee Gees offered the song to Bryan Adams, though he declined their offer.

Singles[link]

• "Secret Love"
• "When He's Gone"
• "The Only Love"
• "Happy Ever After"

Personnel[link]

• Barry Gibb - vocals, guitar
• Robin Gibb - vocals
• Maurice Gibb - vocals, keyboards, synthesiser, guitar
• Alan Kendall - guitar

Additional personnel

• Tim Moore - keyboards, synthesiser, programmer
• George Perry - bass guitar
• Lenny Castro - percussion
• Julia Waters, Maxine Waters - vocals
• Femi Jiya, John Merchant - engineers

Charts[link]

References[link]

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

Civilization (or civilisation) is a sometimes controversial term that has been used in several related ways. Primarily, the term has been used to refer to the material and instrumental side of human cultures that are complex in terms of technology, science, and division of labor. Such civilizations are generally hierarchical and urbanized. In a classical context, people were called "civilized" to set them apart from barbarians, while in a modern-day context, "civilized peoples" have been contrasted with primitive peoples.

There is a tendency to use the term in a less strict way, to mean approximately the same thing as "culture" and therefore, the term can more broadly refer to any important and clearly defined human society.^{[citation needed]} Still, even when used in this second sense, the word is often restricted to apply only to societies that have attained a particular level of advancement-especially the founding of cities.

The level of advancement of a civilization is often measured by its progress in agriculture, long-distance trade, occupational specialization, a special governing class and urbanism. Aside from these core elements, a civilization is often marked by any combination of a number of secondary elements, including a developed transportation system, writing, standardized measurement, currency, contractual and (tort-based) legal systems, characteristic art and architecture, mathematics, enhanced scientific understanding, metallurgy, political structures, and an astronomical understanding.

The Great Mosque of Kairouan, also called the Mosque of Uqba, is the oldest mosque in North Africa and one of the most important monuments of Islamic civilization.[1][2] In addition to its artistic and architectural importance, between the 9th and 11th centuries it was the main centre of culture and education in all of North Africa.[3] The Great Mosque of Kairouan is located in the World Heritage city of Kairouan in Tunisia.

The ancient city of Mohenjo-daro, built around 2600 BCE by the Ancient Indus valley civilization, spanning Pakistan, India and Afghanistan is known to be one of the world's earliest cities.

The Acropolis, directly influencing architecture and engineering in Western, Islamic, and Eastern civilizations up to the present day, 2400 years after construction.

Etymology[link]

The Roman Forum, the political, economic, cultural, and religious center of the Ancient Rome civilization, during the Republic and later Empire, its ruins still visible today in modern-day Rome.

The Great Wall of China

The word civilization comes from the Latin civilis, meaning civil, related to the Latin civis, meaning citizen, and civitas, meaning city or city-state.^[4]

In the sixth century, the Byzantine Emperor Justinian oversaw the consolidation of Roman civil law. The resulting collection is called the Corpus Juris Civilis. In the 11th century, professors at the University of Bologna, Western Europe's first university, rediscovered the Corpus Juris Civilis, and its influence began to be felt across Europe. In 1388, the word civil appeared in English meaning "of or related to citizens."^[5] In 1704, civilization was used to mean "a law which makes a criminal process into a civil case." Civilization was not used in its modern sense to mean "the opposite of barbarism"—as contrasted to civility, meaning politeness or civil virtue—until the second half of the 18th century.

According to Emile Benveniste (1954^[6]), the earliest written occurrence in English of civilisation in its modern sense may be found in Adam Ferguson's An Essay on the History of Civil Society (Edinburgh, 1767 - p. 2): "Not only the individual advances from infancy to manhood, but the species itself from rudeness to civilisation."

It should be noted that this usage incorporates the concept of superiority and maturity of "civilized" existence, as contrasted to "rudeness", which is used to denote coarseness, as in a lack of refinement or "civility."

Before Benveniste's inquiries, the New English Dictionary quoted James Boswell's conversation with Samuel Johnson concerning the inclusion of Civilization in Johnson's dictionary:

On Monday, March 23 (1772), I found him busy, preparing a fourth edition of his folio Dictionary... He would not admit civilization, but only civility. With great deference to him I thought civilization, from to civilize, better in the sense opposed to barbarity than civility, as it is better to have a distinct word for each sense, than one word with two senses, which civility is, in his way of using it.

Benveniste demonstrated that previous occurrences could be found, which explained the quick adoption of Johnson's definition. In 1775 the dictionary of Ast defined civilization as "the state of being civilized; the act of civilizing",^[6] and the term was frequently used by Adam Smith in An Inquiry into the Nature and Causes of the Wealth of Nations (1776).^[6] Beside Smith and Ferguson, John Millar also used it in 1771 in his Observations concerning the distinction of ranks in society.^[6]

The history of the word in English appears to be connected with the parallel development in French, which may be the original source. As the first occurrence of civilization in French was found by Benveniste in the Marquis de Mirabeau's L'Ami des hommes ou traité de la population (written in 1756 but published in 1757), Benveniste's query was to know if the English word derived from the French, or if both evolved independently — a question which needed more research. According to him, the word civilization may in fact have been used by Ferguson as soon as 1759.^[6]

Furthermore, Benveniste notes that, contrasted to civility, a static term, civilization conveys a sense of dynamism. He thus writes that:

It was not only a historical view of society; it was also an optimist and resolutely non theological interpretation of its evolution which asserted itself, sometimes at the insu of those who proclaimed it, and even if some of them, and first of all Mirabeau, still counted religion as the first factor of 'civilization.^[6][7]

In the late 1700s and early 1800s, both during the French revolution, and in English, "civilization" was referred to in the singular, never the plural, because it referred to the progress of humanity as a whole. This is still the case in French.^[8] More recently "civilizations" is sometimes used as a synonym for the broader term "cultures" in both popular and academic circles.^[9] However, the concepts of civilization and culture are not always considered interchangeable. For example, a small nomadic tribe may be judged not to have a civilization, but it would surely be judged to have a culture (defined as "the arts, customs, habits... beliefs, values, behavior and material habits that constitute a people's way of life").

Civilization is not always seen as an improvement. One historically important distinction between culture and civilization stems from the writings of Rousseau, and particularly his work concerning education, Emile. In this perspective, civilization, being more rational and socially driven, is not fully in accordance with human nature, and "human wholeness is achievable only through the recovery of or approximation to an original prediscursive or prerational natural unity". (See noble savage.) From this notion, a new approach was developed especially in Germany, first by Johann Gottfried Herder, and later by philosophers such as Kierkegaard and Nietzsche. This sees cultures (plural) as natural organisms which are not defined by "conscious, rational, deliberative acts" but rather a kind of pre-rational "folk spirit". Civilization, in contrast, though more rational and more successful concerning material progress, is seen as un-natural, and leads to "vices of social life" such as guile, hypocrisy, envy, and avarice.^[8] During World War II, Leo Strauss, having fled Germany, argued in New York that this approach to civilization was behind Nazism and German militarism and nihilism.^[10]

In his book The Philosophy of Civilization, Albert Schweitzer outlined the idea that there are dual opinions within society: one regarding civilization as purely material and another regarding civilization as both ethical and material. He stated that the current world crisis was, then in 1923, due to a humanity having lost the ethical conception of civilization. In this same work, he defined civilization, saying that it "is the sum total of all progress made by man in every sphere of action and from every point of view in so far as the progress helps towards the spiritual perfecting of individuals as the progress of all progress."

Characteristics[link]

26th century BCE Sumerian cuneiform script in Sumerian language, listing gifts to the high priestess of Adab on the occasion of her election. One of the earliest examples of human writing.

Social scientists such as V. Gordon Childe have named a number of traits that distinguish a civilization from other kinds of society.^[11] Civilizations have been distinguished by their means of subsistence, types of livelihood, settlement patterns, forms of government, social stratification, economic systems, literacy, and other cultural traits.

All civilizations have depended on agriculture for subsistence. Growing food on farms results in a surplus of food, particularly when people use intensive agricultural techniques such as irrigation and crop rotation. Grain surpluses have been especially important because they can be stored for a long time. A surplus of food permits some people to do things besides produce food for a living: early civilizations included artisans, priests and priestesses, and other people with specialized careers. A surplus of food results in a division of labor and a more diverse range of human activity, a defining trait of civilizations. However, in some places hunter-gatherers have had access to food surpluses, such as among some of the indigenous peoples of the Pacific Northwest and perhaps during the Mesolithic Natufian culture. It is possible that food surpluses and relatively large scale social organization and division of labor predates plant and animal domestication.^[12]

Civilizations have distinctly different settlement patterns from other societies. The word civilization is sometimes simply defined as "'living in cities'".^[13] Non-farmers tend to gather in cities to work and to trade.

"No one in the history of civilization has shaped our understanding of science and natural philosophy more than the great Greek philosopher and scientist Aristotle (384-322 BCE), who exerted a profound and pervasive influence for more than two thousand years" —Gary B. Ferngren^[14]

Compared with other societies, civilizations have a more complex political structure, namely the state.^[15] State societies are more stratified^[16] than other societies; there is a greater difference among the social classes. The ruling class, normally concentrated in the cities, has control over much of the surplus and exercises its will through the actions of a government or bureaucracy. Morton Fried, a conflict theorist, and Elman Service, an integration theorist, have classified human cultures based on political systems and social inequality. This system of classification contains four categories:^{[citation needed]}

• Hunter-gatherer bands, which are generally egalitarian.^[17]
• Horticultural/pastoral societies in which there are generally two inherited social classes; chief and commoner.
• Highly stratified structures, or chiefdoms, with several inherited social classes: king, noble, freemen, serf and slave.
• Civilizations, with complex social hierarchies and organized, institutional governments.^[18]

Economically, civilizations display more complex patterns of ownership and exchange than less organized societies. Living in one place allows people to accumulate more personal possessions than nomadic people. Some people also acquire landed property, or private ownership of the land. Because a percentage of people in civilizations do not grow their own food, they must trade their goods and services for food in a market system, or receive food through the levy of tribute, redistributive taxation, tariffs or tithes from the food producing segment of the population. Early civilizations developed money as a medium of exchange for these increasingly complex transactions. To oversimplify, in a village the potter makes a pot for the brewer and the brewer compensates the potter by giving him a certain amount of beer. In a city, the potter may need a new roof, the roofer may need new shoes, the cobbler may need new horseshoes, the blacksmith may need a new coat, and the tanner may need a new pot. These people may not be personally acquainted with one another and their needs may not occur all at the same time. A monetary system is a way of organizing these obligations to ensure that they are fulfilled fairly.

Writing, developed first by people in Sumer, is considered a hallmark of civilization and "appears to accompany the rise of complex administrative bureaucracies or the conquest state."^[19] Traders and bureaucrats relied on writing to keep accurate records. Like money, writing was necessitated by the size of the population of a city and the complexity of its commerce among people who are not all personally acquainted with each other. However, writing is not always necessary for civilization. The Inca civilization of the Andes did not use writing at all, yet it still functioned as a society.

Aided by their division of labor and central government planning, civilizations have developed many other diverse cultural traits. These include organized religion, development in the arts, and countless new advances in science and technology.

Through history, successful civilizations have spread, taking over more and more territory, and assimilating more and more previously-uncivilized people. Nevertheless, some tribes or people remain uncivilized even to this day. These cultures are called by some "primitive," a term that is regarded by others as pejorative. "Primitive" implies in some way that a culture is "first" (Latin = primus), that it has not changed since the dawn of humanity, though this has been demonstrated not to be true. Specifically, as all of today's cultures are contemporaries, today's so-called primitive cultures are in no way antecedent to those we consider civilized. Many anthropologists use the term "non-literate" to describe these peoples.

Civilization has been spread by colonization, invasion, religious conversion, the extension of bureaucratic control and trade, and by introducing agriculture and writing to non-literate peoples. Some non-civilized people may willingly adapt to civilized behaviour. But civilization is also spread by the technical, material and social dominance that civilization engenders.

Cultural identity[link]

"Civilization" can also refer to the culture of a complex society, not just the society itself. Every society, civilization or not, has a specific set of ideas and customs, and a certain set of manufactures and arts that make it unique. Civilizations tend to develop intricate cultures, including literature, professional art, architecture, organized religion, and complex customs associated with the elite.

The intricate culture associated with civilization has a tendency to spread to and influence other cultures, sometimes assimilating them into the civilization (a classic example being Chinese civilization and its influence on nearby civilizations such as Korea, Japan and Vietnam). Many civilizations are actually large cultural spheres containing many nations and regions. The civilization in which someone lives is that person's broadest cultural identity.

Many historians have focused on these broad cultural spheres and have treated civilizations as discrete units. Early twentieth-century philosopher Oswald Spengler,^[20] uses the German word "Kultur," "culture," for what many call a "civilization". Spengler believes a civilization's coherence is based on a single primary cultural symbol. Cultures experience cycles of birth, life, decline, and death, often supplanted by a potent new culture, formed around a compelling new cultural symbol. Spengler states civilization is the beginning of the decline of a culture as, "...the most external and artificial states of which a species of developed humanity is capable."^[20]

This "unified culture" concept of civilization also influenced the theories of historian Arnold J. Toynbee in the mid-twentieth century. Toynbee explored civilization processes in his multi-volume A Study of History, which traced the rise and, in most cases, the decline of 21 civilizations and five "arrested civilizations." Civilizations generally declined and fell, according to Toynbee, because of the failure of a "creative minority", through moral or religious decline, to meet some important challenge, rather than mere economic or environmental causes.

Samuel P. Huntington defines civilization as "the highest cultural grouping of people and the broadest level of cultural identity people have short of that which distinguishes humans from other species." Huntington's theories about civilizations are discussed below.^[21]

Complex systems[link]

Another group of theorists, making use of systems theory, looks at a civilization as a complex system, i.e., a framework by which a group of objects can be analyzed that work in concert to produce some result. Civilizations can be seen as networks of cities that emerge from pre-urban cultures, and are defined by the economic, political, military, diplomatic, social, and cultural interactions among them. Any organization is a complex social system, and a civilization is a large organization. Systems theory helps guard against superficial but misleading analogies in the study and description of civilizations.

Systems theorists look at many types of relations between cities, including economic relations, cultural exchanges, and political/diplomatic/military relations. These spheres often occur on different scales. For example, trade networks were, until the nineteenth century, much larger than either cultural spheres or political spheres. Extensive trade routes, including the Silk Road through Central Asia and Indian Ocean sea routes linking the Roman Empire, Persian Empire, India, and China, were well established 2000 years ago, when these civilizations scarcely shared any political, diplomatic, military, or cultural relations. The first evidence of such long distance trade is in the ancient world. During the Uruk period Guillermo Algaze has argued that trade relations connected Egypt, Mesopotamia, Iran and Afghanistan.^[22] Resin found later in the Royal Tombs of Ur it is suggested was traded northwards from Mozambique.

Many theorists argue that the entire world has already become integrated into a single "world system", a process known as globalization. Different civilizations and societies all over the globe are economically, politically, and even culturally interdependent in many ways. There is debate over when this integration began, and what sort of integration – cultural, technological, economic, political, or military-diplomatic – is the key indicator in determining the extent of a civilization. David Wilkinson has proposed that economic and military-diplomatic integration of the Mesopotamian and Egyptian civilizations resulted in the creation of what he calls the "Central Civilization" around 1500 BCE.^[23] Central Civilization later expanded to include the entire Middle East and Europe, and then expanded to a global scale with European colonization, integrating the Americas, Australia, China and Japan by the nineteenth century. According to Wilkinson, civilizations can be culturally heterogeneous, like the Central Civilization, or homogeneous, like the Japanese civilization. What Huntington calls the "clash of civilizations" might be characterized by Wilkinson as a clash of cultural spheres within a single global civilization. Others point to the Crusades as the first step in globalization. The more conventional viewpoint is that networks of societies have expanded and shrunk since ancient times, and that the current globalized economy and culture is a product of recent European colonialism.

Future[link]

Huntington's map of world civilizations (1996).

Political scientist Samuel Huntington^[24] has argued that the defining characteristic of the 21st century will be a clash of civilizations. According to Huntington, conflicts between civilizations will supplant the conflicts between nation-states and ideologies that characterized the 19th and 20th centuries. These views have been strongly challenged by others like Edward Said, Muhammed Asadi and Amartya Sen.^[25] Ronald Inglehart and Pippa Norris have argued that the "true clash of civilizations" between the Muslim world and the West is caused by the Muslim rejection of the West's more liberal sexual values, rather than a difference in political ideology, although they note that this lack of tolerance is likely to lead to an eventual rejection of (true) democracy.^[26] In Identity and Violence Sen questions if people should be divided along the lines of a supposed 'civilization', defined by religion and culture only. He argues that this ignores the many others identities that make up people and leads to a focus on differences.

Some environmental scientists see the world entering a Planetary Phase of Civilization, characterized by a shift away from independent, disconnected nation-states to a world of increased global connectivity with worldwide institutions, environmental challenges, economic systems, and consciousness.^[27][28] In an attempt to better understand what a Planetary Phase of Civilization might look like in the current context of declining natural resources and increasing consumption, the Global scenario group used scenario analysis to arrive at three archetypal futures: Barbarization, in which increasing conflicts result in either a fortress world or complete societal breakdown; Conventional Worlds, in which market forces or Policy reform slowly precipitate more sustainable practices; and a Great Transition, in which either the sum of fragmented Eco-Communalism movements add up to a sustainable world or globally coordinated efforts and initiatives result in a new sustainability paradigm.^[29]

Author Derrick Jensen argues that modern civilization is intrinsically directed towards the domination of the environment and humanity itself in a harmful and destructive fashion.^[30]

The Kardashev scale classifies civilizations based on their level of technological advancement, specifically measured by the amount of energy a civilization is able to harness. The Kardashev scale makes provisions for civilizations far more technologically advanced than any currently known to exist (see also: Civilizations and the Future, Space civilization).

Fall of civilizations[link]

There have been many explanations put forward for the collapse of civilization. Some focus on historical examples, and others on general theory.

• Ibn Khaldūn's Muqaddimah influenced theories of the analysis, growth and decline of the Islamic civilization. He suggested repeated invasions from nomadic peoples limited development and led to social collapse.
• Edward Gibbon's work The Decline and Fall of the Roman Empire was a well-known and detailed analysis of the fall of Roman civilization. Gibbon suggested the final act of the collapse of Rome was the fall of Constantinople to the Ottoman Turks in 1453 CE. For Gibbon:

  The decline of Rome was the natural and inevitable effect of immoderate greatness. Prosperity ripened the principle of decay; the cause of the destruction multiplied with the extent of conquest; and, as soon as time or accident had removed the artificial supports, the stupendous fabric yielded to the pressure of its own weight. The story of the ruin is simple and obvious; and instead of inquiring why the Roman Empire was destroyed, we should rather be surprised that it has subsisted for so long.[Gibbon, Decline and Fall of the Roman Empire, 2nd ed., vol. 4, ed. by J. B. Bury (London, 1909), pp. 173–174.-Chapter XXXVIII: Reign Of Clovis.--Part VI. General Observations On The Fall Of The Roman Empire In The West.]

• Theodor Mommsen in his "History of Rome (Mommsen)", suggested Rome collapsed with the collapse of the Western Roman Empire in 476 CE and he also tended towards a biological analogy of "genesis," "growth," "senescence," "collapse" and "decay."
• Oswald Spengler, in his "Decline of the West" rejected Petrarch's chronological division, and suggested that there had been only eight "mature civilizations." Growing cultures, he argued, tend to develop into imperialistic civilizations which expand and ultimately collapse, with democratic forms of government ushering in plutocracy and ultimately imperialism.
• Arnold J. Toynbee in his "A Study of History" suggested that there had been a much larger number of civilizations, including a small number of arrested civilizations, and that all civilizations tended to go through the cycle identified by Mommsen. The cause of the fall of a civilization occurred when a cultural elite became a parasitic elite, leading to the rise of internal and external proletariats.
• Joseph Tainter in "The Collapse of Complex Societies" suggested that there were diminishing returns to complexity, due to which, as states achieved a maximum permissible complexity, they would decline when further increases actually produced a negative return. Tainter suggested that Rome achieved this figure in the 2nd Century CE.
• Jared Diamond in his 2005 book "Collapse: How Societies Choose to Fail or Succeed" suggests five major reasons for the collapse of 41 studied cultures: environmental damage, such as deforestation and soil erosion; climate change; dependence upon long-distance trade for needed resources; increasing levels of internal and external violence, such as war or invasion; and societal responses to internal and environmental problems.
• Peter Turchin in his Historical Dynamics and Andrey Korotayev et al. in their Introduction to Social Macrodynamics, Secular Cycles, and Millennial Trends suggest a number of mathematical models describing collapse of agrarian civilizations. For example, the basic logic of Turchin's "fiscal-demographic" model can be outlined as follows: during the initial phase of a sociodemographic cycle we observe relatively high levels of per capita production and consumption, which leads not only to relatively high population growth rates, but also to relatively high rates of surplus production. As a result, during this phase the population can afford to pay taxes without great problems, the taxes are quite easily collectible, and the population growth is accompanied by the growth of state revenues. During the intermediate phase, the increasing overpopulation leads to the decrease of per capita production and consumption levels, it becomes more and more difficult to collect taxes, and state revenues stop growing, whereas the state expenditures grow due to the growth of the population controlled by the state. As a result, during this phase the state starts experiencing considerable fiscal problems. During the final pre-collapse phases the overpopulation leads to further decrease of per capita production, the surplus production further decreases, state revenues shrink, but the state needs more and more resources to control the growing (though with lower and lower rates) population. Eventually this leads to famines, epidemics, state breakdown, and demographic and civilization collapse (Peter Turchin. Historical Dynamics. Princeton University Press, 2003:121–127).
• Peter Heather argues in his book The Fall of the Roman Empire: a New History of Rome and the Barbarians^[31] that this civilization did not end for moral or economic reasons, but because centuries of contact with barbarians across the frontier generated its own nemesis by making them a much more sophisticated and dangerous adversary. The fact that Rome needed to generate ever greater revenues to equip and re-equip armies that were for the first time repeatedly defeated in the field, led to the dismemberment of the Empire. Although this argument is specific to Rome, it can also be applied to the Asiatic Empire of the Egyptians, to the Han and Tang dynasties of China, to the Muslim Abbasid Caliphate, and others.
• Bryan Ward-Perkins, in his book The Fall of Rome and the End of Civilization,^[32] shows the real horrors associated with the collapse of a civilization for the people who suffer its effects, unlike many revisionist historians who downplay this. The collapse of complex society meant that even basic plumbing disappeared from the continent for 1,000 years. Similar Dark Age collapses are seen with the Late Bronze Age collapse in the Eastern Mediterranean, the collapse of the Maya, on Easter Island and elsewhere.
• Arthur Demarest argues in Ancient Maya: The Rise and Fall of a Rainforest Civilization,^[33] using a holistic perspective to the most recent evidence from archaeology, paleoecology, and epigraphy, that no one explanation is sufficient but that a series of erratic, complex events, including loss of soil fertility, drought and rising levels of internal and external violence led to the disintegration of the courts of Mayan kingdoms which began a spiral of decline and decay. He argues that the collapse of the Maya has lessons for civilization today.
• Jeffrey A. McNeely has recently suggested that "A review of historical evidence shows that past civilizations have tended to over-exploit their forests, and that such abuse of important resources has been a significant factor in the decline of the over-exploiting society."^[34]
• Thomas Homer-Dixon in "The Upside of Down: Catastrophe, Creativity, and the Renewal of Civilization", considers that the fall in the energy return on investments; the energy expended to energy yield ratio, is central to limiting the survival of civilizations. The degree of social complexity is associated strongly, he suggests, with the amount of disposable energy environmental, economic and technological systems allow. When this amount decreases civilizations either have to access new energy sources or they will collapse....

History[link]

Early civilizations[link]

Map of the world showing approximate centers of origin of agriculture and its spread in prehistory: the Fertile Crescent (11,000 BP), the Yangtze and Yellow River basins (9000 BP) and the New Guinea Highlands (9000–6000 BP), Central Mexico (5000–4000 BP), Northern South America (5000–4000 BP), sub-Saharan Africa (5000–4000 BP, exact location unknown), eastern USA (4000–3000 BP).^[35]

The process of sedentarization is first thought to have occurred around 12,000 BCE in the Levant region of southwest Asia though other regions around the world soon followed. The emergence of civilization is generally associated with the Neolithic, or Agricultural Revolution, which occurred in various locations between 8,000 and 5,000 BCE, specifically in southwestern/southern Asia, northern/central Africa and Central America.^[36] This revolution marked the beginning of stable agriculture and animal domestication which enabled economies and cities to develop.

The following articles discuss the development of major early civilizations.

• Old Stone Age
• New Stone Age
• Bronze Age India
  • Indus Valley Civilization
• Ancient Near East
  • Mesopotamia
  • Levant / Canaan
  • Bronze Age Anatolia / Aegean
• Bronze Age Europe
• Bronze Age China

• Africa
  • Ancient Egypt
  • Ancient Somalia
  • Kush
  • Axum

• Pre-Columbian Americas
  • Norte Chico / Caral
  • Olmec
  • Zapotec civilization

Antiquity (Axial Age)[link]

Karl Jaspers, the German historical philosopher, proposed that the ancient civilizations were affected greatly by an Axial Age in the period between 800 BCE–200 BCE during which a series of male sages, prophets, religious reformers and philosophers, from China, India, Iran, Israel and Greece, changed the direction of civilizations.^[37] William H. McNeill proposed that this period of history was one in which culture contact between previously separate civilizations saw the "closure of the oecumene", and led to accelerated social change from China to the Mediterranean, associated with the spread of coinage, larger empires and new religions. This view has recently been championed by Christopher Chase-Dunn and other world systems theorists.

• Mediterranean civilizations of the Classical Period
  • Ancient Greece
  • Ancient Rome
  • Hellenistic civilization
• Middle East
  • Persia since the Achaemenids
  • Second Temple Judaism
• Ancient India
• Ancient China (Qin Dynasty, Han Dynasty)
• Ancient Nomads (Xiongnu, Huns, Kok Turk Empire)

Medieval to Early Modern[link]

• Christendom
  • Western Christianity
  • Eastern Christianity
• Islamic World
  • Islamic Golden Age
  • Caliphate
  • Somalia
    • Adal Sultanate
    • Ajuuraan Empire
    • Warsangali Empire
  • Mongol-Turkish (Ilkhanate, Timurid Empire)
  • Mughal India
  • Ottoman Empire
• Asia
  • Chola Empire, India
  • Pandya Empire, India
  • Chera Kingdom, India
  • Pallava Kingdom, India
  • Tang China
  • Goryeo Korea
  • Mongol Empire (Yuan)
  • Ming China
  • Feudal Japan
  • Confucian Vietnam
• South East Asia
  • Funan, Chenla, Champa, Anghor Cambodia
  • Dvaravati, Hariphunchai, Sukhothai, Ayutthaya Kingdom, pre Modern Thailand
  • Pagan Burma
  • Chola, Pallava, Sri Vijaya, Sailendra, Mataram and Majapahit

• Mesomerican civilizations
  • Toltec
  • Aztec civilization
  • Maya civilization

• Andean civilizations
  • Chimor
  • Kingdom of Cusco/Inca Empire
  • Aymara

• African civilizations
  • Wagadou
  • Mali Empire
  • Songhai Empire
  • Abyssinia
  • Benin Empire

Contemporary[link]

• Western World
  • Europe
  • the Americas
    • Latin America
    • Anglosphere
  • Eastern Orthodox Church countries
    • Greece
    • Russia
    • Southeast Europe
    • Ukraine
    • Belarus
  • Australia
• Islamic world
  • Arab world
  • Middle East
    • Turkey (in transition from the Islamic World to the Western World)
  • North Africa
  • Somalia
• Eastern world / Far East
  • East Asia
    • Sinosphere
    • Nomadic (Altaic)
  • South Asia
  • Southeast Asia
• Sub-Saharan Africa
  • • South Africa (to the Western World)

See also[link]

• Anarcho-primitivism
• Barbarian
• Civilized core
• Cradle of civilization
• Culture
  • Outline of culture
• History of the world
• Human population
• Intermediate Region
• Kardashev scale
• Mission civilisatrice
• Muslim world
• Proto-civilization
• Sedentism
• Western civilization

Notes[link]

References[link]

External links[link]

Look up civilization in Wiktionary, the free dictionary.

Wikiquote has a collection of quotations related to: Civilization

Bee Gees
The Bee Gees performing on Dutch television in 1968. From left to right: Barry, Robin, and Maurice Gibb
Background information
Genres	Pop, pop rock, disco, blue-eyed soul, soft rock
Years active	1958–2003 2009–2012
Labels	RSO, Warner Bros., Festival, Polydor, Atco
Website	www.beegees.com
Past members
Barry Gibb Robin Gibb Maurice Gibb Colin Petersen Vince Melouney Geoff Bridgford Alan Kendall Dennis Bryon Blue Weaver

The Bee Gees were a musical group founded in 1958. The group's line-up consisted of brothers Barry, Robin, and Maurice Gibb. The trio were successful for most of their decades of recording music, but they had two distinct periods of exceptional success: as a pop act in the late 1960s/early 1970s, and as prominent performers of the disco music era in the late 1970s.

The group sang three-part tight harmonies that were instantly recognisable; Robin's clear vibrato lead was a hallmark of their earlier hits, while Barry's R&B falsetto became their signature sound during the late 1970s and 1980s. The brothers wrote all of their own hits, as well as writing and producing several major hits for other artists.

Born in the Isle of Man to English parents, the Gibb brothers lived their first few years in Chorlton, Manchester, England, then moved in the late 1950s to Redcliffe, Queensland, Australia, where they began their musical careers.^[1] After achieving their first chart success in Australia with "Spicks and Specks" (their 12th single), they returned to the United Kingdom in January 1967 where producer Robert Stigwood began promoting them to a worldwide audience.

It has been estimated that the Bee Gees' career record sales total more than 220 million,^[2] ranking them among the best-selling music artists of all time. They were inducted into the Rock and Roll Hall of Fame in 1997;^[3] the presenter of the award to "Britain's first family of harmony" was Brian Wilson, historical leader of the Beach Boys, a "family act" also featuring three harmonising brothers.^[4] The Bee Gees' Hall of Fame citation says "Only Elvis Presley, The Beatles, Michael Jackson, Garth Brooks and Paul McCartney have outsold the Bee Gees".^[3]

Following Maurice's sudden death in January 2003, Barry and Robin Gibb retired the group's name after 45 years of activity. In 2009, however, Robin announced that he and Barry had agreed that the Bee Gees would re-form and perform again.^[5] Robin died in May 2012 after a prolonged bout of cancer.^[6]

History[link]

Early years[link]

Plaque at Maitland Terrace/Strang Road intersection in Union Mills, Isle of Man.

Barry Gibb (b. 1946) and fraternal twin brothers Robin (1949–2012) and Maurice Gibb (1949–2003) were born on the Isle of Man, but the family returned to father Hugh Gibb's home town of Chorlton-cum-Hardy, Manchester, England where they went to Oswald Road Primary School, in the early 1950s where the boys began to sing in harmony. The story is told that they were going to lip sync to a record in the local Gaumont cinema (as other children had done on previous weeks) and as they were running to the theatre, the heavy 78-RPM record broke. The brothers had to sing live and received such a positive response from the audience that they decided to pursue a singing career.^[7]

In 1958 the Gibb family, including infant brother, Andy (1958–1988), emigrated to Redcliffe in Queensland, Australia. The young brothers began performing where they could to raise pocket money. First called the Rattlesnakes, later Wee Johnny Hayes & the Bluecats, they were introduced to radio DJ Bill Gates by racetrack promoter Bill Goode (who saw them perform at Brisbane's Speedway Circuit). Gates renamed them the "Bee Gees" after his and Goode's initials – thus the name was not specifically a reference to "Brothers Gibb", despite popular belief.^[8]

By 1960 the Bee Gees were featured on television shows. In the next few years they began working regularly at resorts on the Queensland coast. For his songwriting, Barry sparked the interest of Australian star Col Joye, who helped them get a record deal with Festival Records subsidiary, Leedon Records, in 1963 under the name "Bee Gees." The three released two or three singles a year, while Barry supplied additional songs to other Australian artists. From 1963 to 1966 the Gibb family lived at 171 Bunnerong Road, Maroubra in Sydney.^[9]

A minor hit in 1965, "Wine and Women", led to the group's first LP The Bee Gees Sing and Play 14 Barry Gibb Songs. By 1966 Festival was, however, on the verge of dropping them from the Leedon roster because of their perceived lack of commercial success. It was at this time that they met American-born songwriter, producer and entrepreneur, Nat Kipner, who had just been appointed A&R manager of a new independent label, Spin Records. Kipner briefly took over as the group's manager and successfully negotiated their transfer to Spin in exchange for Festival being granted the Australian distribution rights to the group's recordings.^{[citation needed]}

Through Kipner the Bee Gees met engineer-producer, Ossie Byrne. He produced (or co-produced with Kipner) many of the earlier Spin recordings, most of which were cut at his own small self-built St Clair Studio in the Sydney suburb of Hurstville. Byrne gave the Gibb brothers virtually unlimited access to St Clair Studio over a period of several months in mid-1966. The group later acknowledged that this enabled them to greatly improve their skills as recording artists. During this productive time they recorded a large batch of original material—including the song that would become their first major hit, "Spicks and Specks" (on which Byrne played the trumpet coda) – as well as cover versions of current hits by overseas acts such as The Beatles. They regularly collaborated with other local musicians, including members of beat band Steve & The Board, led by Steve Kipner, Nat's teenage son.

Frustrated by their lack of success, the Gibbs decided to return to England in late 1966. Ossie Byrne travelled with them, and Colin Petersen, who eventually became the group's drummer, followed soon after. While at sea in January 1967, they learned that "Spicks and Specks" had been awarded Best Single of the Year by Go-Set, Australia's most popular and influential music newspaper.

Late 1960s: first international fame[link]

The Bee Gees in 1967.

Before their departure from Australia to England, Hugh Gibb sent demos to Brian Epstein who managed The Beatles and was director of NEMS, a British music store and promoter. Brian Epstein had passed the demo tapes to Robert Stigwood, who had recently joined NEMS. After an audition with Stigwood in February 1967, the Bee Gees were signed to a five-year contract whereby Polydor Records would be their record label in the United Kingdom and ATCO Records would be the United States distributor. Work quickly began on the group's first international album, and Robert Stigwood launched a promotional campaign to coincide with its release.

Stigwood proclaimed that the Bee Gees were "The Most Significant New Talent Of 1967" and thus began the immediate comparison to The Beatles.^[10] Their second British single (their first UK 45 rpm issued was "Spicks and Specks"), "New York Mining Disaster 1941", was issued to radio stations with a blank white label listing only the song title. Some DJs immediately assumed this was a new single by The Beatles and started playing the song in heavy rotation. This helped the song climb into the Top 20 in both the United Kingdom and the United States. No such chicanery was needed to boost the Bee Gees' second single, "To Love Somebody", into the US Top 20. Originally written for Otis Redding, "To Love Somebody" was a soulful ballad sung by Barry, which has since become a pop standard covered by hundreds of artists including Gram Parsons, Rod Stewart, Bonnie Tyler, Janis Joplin, The Animals, Nina Simone, Jimmy Somerville and Michael Bolton. Another single, "Holiday", was released in the United States, peaking at No. 16. The parent album, Bee Gees 1st (their first internationally), peaked at No. 7 in the United States and No. 8 in the United Kingdom.

Following the success of Bee Gees 1st, the band (which now consisted of Barry on rhythm guitar, Maurice on bass, Vince Melouney on lead guitar and Colin Petersen on drums),.^[10] began work on the act's second album. Released in late 1967, Horizontal repeated the success of their first album, featuring the No. 1 UK single "Massachusetts" (a No. 11 US hit), and the No. 7 UK single "World". The sound of the album Horizontal had a more "rock" sound than their previous release, though ballads like "And The Sun Will Shine" and "Really And Sincerely" were also prominent. The Horizontal album reached No. 12 in the US, and No. 16 in the UK promoting the record, the Bee Gees made their first appearances in America, playing live concerts and television shows such as The Ed Sullivan Show and Rowan & Martin's Laugh-In. Two more singles followed in early 1968, the ballad "Words" (No. 15 US, No. 8 UK) and the double A-sided single "Jumbo" b/w "The Singer Sang His Song". "Jumbo" was the Bee Gees' least successful single to date only reaching No. 57 in the US, and No. 25 in the UK. The Bee Gees felt that "The Singer Sang His Song" was the stronger of the two sides, an opinion shared by listeners in the Netherlands, who made it a No. 3 hit. Further Bee Gees chart singles followed: "I've Gotta Get a Message to You" (No. 8 US, No. 1 UK) and "I Started A Joke" (No. 6 US), both culled from the band's third album Idea. Idea was another Top 20 album in the US (No. 17) and the UK (No. 4). Following the tour and TV special to promote the album, Vince Melouney left the group, feeling that he wanted to play more of a blues style music than the Gibbs were writing. Melouney did achieve one feat while with the Bee Gees—his composition "Such A Shame" (from Idea) is the only song on any Bee Gees album not written by a Gibb brother.

By 1969, the cracks began to show within the group. Robin began to feel that Stigwood had been favouring Barry as the frontman. Their next album, which was to have been a concept album called Masterpeace, evolved into the double-album Odessa. Most rock critics felt this was the best Bee Gees album of the '60s, with its progressive rock feel on the title track, the country-flavoured "Marley Purt Drive" and "Give Your Best", and signature ballads such as "Melody Fair" and "First of May"; the last of which became the only single from the album, and was a minor hit. Feeling that the flipside, "Lamplight" should have been the A-side, Robin quit the group in mid-1969 and launched a solo career. Robin Gibb saw brief success in Europe with the No. 2 hit "Saved By The Bell" and the album Robin's Reign. Barry and Maurice continued as the Bee Gees, even recruiting their sister Lesley to appear with them on stage.

The first of many Bee Gees compilations, Best of Bee Gees was released, featuring the non-LP single "Words" plus the Australian hit "Spicks and Specks" The CD release replaces "Spicks and Specks" with another non-LP single "Tomorrow Tomorrow", because Polydor could no longer secure the rights to the Australian track. "Tomorrow Tomorrow" was a moderate hit in the UK reaching No. 23, but stalled at No. 54 in the US. The compilation reached the Top Ten in both the US and the UK.

While Robin was off on his own, Barry, Maurice, and Colin continued on as the Bee Gees, recording their next album, Cucumber Castle. There was also a TV special filmed to accompany the album, which aired on the BBC in 1971. Colin Petersen played drums on the tracks recorded for the album, but was fired from the group after filming began and his parts were edited out of the final cut of the film. After Colin was fired, Australian drummer Geoff Bridgford was recruited to complete the recording of songs for Cucumber Castle. The leadoff single, "Don't Forget to Remember" was a big hit in the UK reaching No. 2, but a disappointment in the US, only reaching No. 73. The next 2 singles, "I.O.I.O." and "If I Only Had My Mind on Something Else" barely scraped the charts, and following the release of the album, Barry and Maurice parted ways. It seemed that the Bee Gees were finished. Barry recorded a solo album which never saw official release, though "I'll Kiss Your Memory" was released as a single, without much interest. Meanwhile, Maurice released the single "Railroad", and starred in the West End musical Sing A Rude Song.

Early 1970s[link]

The three brothers reunited in the later part of 1970 penning a series of songs about heartache and loneliness. During this period they became a four piece band joined again by Australian drummer Geoff Bridgford who after playing on the 2 Years On album and Trafalgar album became the last non-Gibb brother to be a member of the Bee Gees. Although they had lost traction on the British charts, the Bee Gees hit No. 3 in America with "Lonely Days" (from the reunion LP 2 Years On) and had their first US No. 1 with "How Can You Mend a Broken Heart" (from Trafalgar). The trio's talents were included in the soundtrack for the 1971 film Melody as they performed several songs for the title. In 1972, they hit No. 16 in America with the single "My World" and "Run To Me" from the LP To Whom It May Concern; the latter also returned them to the British top ten for the first time in three years.

By 1973, however, the Bee Gees were in a rut. The album, Life in a Tin Can, released on RSO Records and its lead-off single, "Saw a New Morning," sold poorly with the single peaking at No. 94. This was followed by an unreleased album (known as A Kick in the Head Is Worth Eight in the Pants). A second compilation album, Best of Bee Gees, Volume 2 was released in 1973, though it did not repeat the success of Volume 1.

On the advice of Ahmet Ertegün, head of their US label Atlantic Records, Stigwood arranged for the group to record with famed soul music producer Arif Mardin. The resulting LP, Mr. Natural, included fewer ballads and foreshadowed the R&B direction of the rest of their career. But when it too failed to attract much interest, Mardin encouraged them to work with the soul music style.

The brothers attempted to assemble a live stage band that could replicate their studio sound. Lead guitarist Alan Kendall had come on board in 1971, but did not have much to do until Mr. Natural. For that album, they added drummer Dennis Bryon, and they later added ex-Strawbs keyboard player Blue Weaver, completing the late 1970s "Bee Gees band". Maurice, who had previously performed on piano, guitar, organ, mellotron, and bass guitar, as well as exotica like mandolin and Moog synthesiser, now confined himself to bass onstage.

At Eric Clapton's suggestion, the brothers relocated to Miami, Florida, early in 1975 to record. After starting off with ballads, they eventually heeded the urging of Mardin and Stigwood and crafted more rhythmic disco songs, including their second US No. 1, "Jive Talkin'", along with US No. 7 "Nights on Broadway." The band liked the resulting new sound, and this time the public agreed, sending the LP Main Course up the charts. This was their second album to have two US top-10 singles since 1968's Idea. Main Course also became their first charting R&B album. Mardin was unable to work with the group afterwards, but the Bee Gees enlisted Albhy Galuten and Karl Richardson who had worked with Mardin during the Main Course sessions. This production team would carry the Bee Gees through the rest of the 1970s.

The next album, Children of the World, was drenched in Barry's newfound falsetto and Weaver's synthesiser disco licks. Led off by the single "You Should Be Dancing," it pushed the Bee Gees to a level of stardom they had not previously achieved in the US, though their new R&B/disco sound was not as popular with some die hard fans from the 1960s. The Bee Gees' band was now closer to a rock act, with rhythm guitar and real drums behind the falsetto.

[edit] Late 1970s: Saturday Night Fever

Following a successful live album, Here at Last... Bee Gees... Live, the Bee Gees agreed with Stigwood to participate in the creation of the Saturday Night Fever soundtrack. It would be the turning point of their career. The cultural impact of both the film and the soundtrack was seismic, not only in the United States, but in the rest of the world as well, bringing the nascent disco scene mainstream.

The band's involvement in the film did not begin until post-production. As John Travolta asserted, "The Bee Gees weren't even involved in the movie in the beginning ... I was dancing to Stevie Wonder and Boz Scaggs."^[11] Producer Robert Stigwood commissioned the Bee Gees to create the songs for the film. The brothers wrote the songs "virtually in a single weekend" at France's Château d'Hérouville studio.^[11] Barry Gibb remembered the reaction when Stigwood and music supervisor Bill Oakes arrived and listened to the demos:

Bill Oakes, who supervised the soundtrack, asserts that Saturday Night Fever did not begin the disco craze; rather, it prolonged it: "Disco had run its course. These days, Fever is credited with kicking off the whole disco thing–-it really didn't. Truth is, it breathed new life into a genre that was actually dying."^[11]

Three Bee Gees singles ("How Deep Is Your Love", "Stayin' Alive", and "Night Fever") reached No. 1 in the United States and many countries around the world, launching the most popular period of the disco era. They also penned the song "If I Can't Have You" which became a No. 1 hit for Yvonne Elliman, while the Bee Gees' own version was the B-Side of "Stayin' Alive." Such was the popularity of Saturday Night Fever that two different versions of the song "More Than a Woman" received airplay, one by the Bee Gees, which was relegated to album track, and another by Tavares, which was the hit. The Gibb sound was inescapable. During an eight-month period beginning in the Christmas season of 1977, six songs written by the brothers held the No. 1 position on the US charts for 25 of 32 consecutive weeks—three of their own releases, two for brother Andy Gibb, and the Yvonne Elliman single.

Fueled by the movie's success, the soundtrack broke multiple industry records, becoming the highest-selling album in recording history to that point. With more than 40 million copies sold, Saturday Night Fever is among music's top five best selling soundtrack albums. It is currently calculated as the 4th highest-selling album worldwide.^[12]

During this era, Barry and Robin also wrote "Emotion" for an old friend, Australian vocalist Samantha Sang, who made it a Top Ten hit (the Bee Gees sang backing vocals). Barry also wrote the title song to the movie version of the Broadway musical Grease for Frankie Valli to perform, which went to No. 1. During this period, the Bee Gees' younger brother Andy followed his older siblings into a music career, and enjoyed considerable success. Produced by Barry, Andy Gibb's first three singles all topped the US charts. In March 1978, the Bee Gees held the top 2 positions on the US Charts with "Night Fever" and "Stayin' Alive", the first time this had happened since The Beatles. On the US Billboard Hot 100 chart for 25 March 1978, five songs written by the Gibbs were in the US top ten at the same time: "Night Fever", "Stayin' Alive", "If I Can't Have You", "Emotion" and "Love is Thicker Than Water". Such chart dominance hadn't been seen since April 1964, when The Beatles had all five of the top five American singles. Barry Gibb became the only songwriter to have four consecutive number one hits in the US breaking the John Lennon and Paul McCartney 1964 record. These songs were "Stayin' Alive", "Love Is Thicker Than Water", "Night Fever", "If I Can't Have You".

The Bee Gees also co-starred with Peter Frampton in the movie Sgt. Pepper's Lonely Hearts Club Band (1978) loosely inspired by the classic 1967 album by The Beatles. The film had been heavily promoted prior to release, and was expected to enjoy great commercial success. However, the disjointed film was savaged by the movie critics, and ignored by the public. Though some of its tracks charted, the soundtrack too was a high-profile flop. The single "Oh! Darling", credited to Robin Gibb, reached No. 15 in the US. Previously, the Bee Gees had recorded three Beatles covers—"Golden Slumbers/Carry That Weight", "She Came in Through the Bathroom Window" and "Sun King" – for the transitory musical documentary All This and World War II.

The Bee Gees' follow-up to Saturday Night Fever was the Spirits Having Flown album. It yielded three more No. 1 hits: "Too Much Heaven", "Tragedy", and "Love You Inside Out." This gave the act six consecutive No. 1 singles in America within a year and a half (a record surpassed only by Whitney Houston). "Too Much Heaven" ended up as the Bee Gees' musical contribution to the Music for UNICEF Concert at the United Nations General Assembly in January 1979, a benefit organised by the Bee Gees, Robert Stigwood, and David Frost for UNICEF that was broadcast worldwide. The brothers donated the royalties from the song to the charity. Up to 2007, this song has earned over $11 million for UNICEF. During the summer of 1979, the Bee Gees embarked on their largest concert tour covering the US and Canada. The Spirits Having Flown tour capitalised on Bee Gees fever that was sweeping the nation, with sold out concerts in 38 cities. The Bee Gees produced a video for the title track of "Too Much Heaven" directed by Miami-based film-maker, Martin Pitts and produced by Charles Allen. With this video, Pitts and Allen began a long association with the brothers.

The Bee Gees even had a country hit in 1979 with "Rest Your Love On Me", the flip side of their pop hit "Too Much Heaven", which made Top 40 on the country charts. In 1981, Conway Twitty's version of "Rest Your Love On Me" topped the country charts.

The Bee Gees' overwhelming success rose and fell with the disco bubble. By the end of 1979, disco was rapidly declining in popularity, and the backlash against disco put the Bee Gees' American career in a tailspin. Radio stations around America began promoting "Bee Gee Free Weekends". Following their remarkable run from 1975 to 1979, the act would have only one more top ten single in the US, and that would not come until 1989. The Bee Gees' international popularity sustained somewhat less damage. Barry Gibb considered the success of the Saturday Night Fever soundtrack both a blessing and a curse:

1980s[link]

Robin and Barry Gibb released various solo albums in the 1980s but only with sporadic and moderate chart success. The brothers had continuing success behind the scenes, however, writing and producing for several artists. In 1980 Barry Gibb worked with Barbra Streisand on her album Guilty. He co-produced and wrote or co-wrote all nine of the album's tracks (four of them written with Robin and the title track with both Robin and Maurice). Barry also appeared on the album's cover with Streisand, and duetted with her on two tracks. The album reached No.1 in both the US and the UK, as did the single "Woman in Love" (written by Barry and Robin), becoming Streisand's most successful single and album to date.

In 1981 the Bee Gees released the album Living Eyes, their last release on RSO. This album was the first CD ever played in public, when it was played to viewers of the BBC show Tomorrow's World.^[13] With the disco backlash still running strong, the album failed to make the UK or US Top 40. Two singles from the album fared little better – "He's a Liar" reached No. 30 in the US and "Living Eyes" reached No. 45, breaking the Bee Gees' Top 40 streak which started in 1975 with "Jive Talkin'".

In 1982 Dionne Warwick enjoyed a UK No.2 and US Adult Contemporary No. 1 with her comeback single, "Heartbreaker", taken from her album of the same name written largely by the Bee Gees and co-produced by Barry Gibb. The album reached No.3 in the UK and the Top 30 in the US where it was certified Gold.

A year later Dolly Parton and Kenny Rogers recorded the Bee Gees-penned track "Islands in the Stream", which became a US No. 1 hit and Top 10 in the UK. Rogers' 1983 album, Eyes That See In The Dark, was written entirely by the Bee Gees and co-produced by Barry. The album was a Top 10 hit in the US and was certified Double Platinum.

The Bee Gees had greater success with the soundtrack to Staying Alive in 1983, the sequel to Saturday Night Fever. The soundtrack was certified platinum in the US, and included their Top 30 hit "The Woman in You".

Also in 1983 the band were sued by Chicago songwriter Ronald Selle, who claimed that the brothers stole melodic material from one of his songs, "Let It End", and used it in "How Deep Is Your Love". At first, the Bee Gees lost the case; one juror said that a factor in the jury's decision was the Gibbs' failure to introduce expert testimony rebutting the plaintiff's expert testimony that it was "impossible" for the two songs to have been written independently. However, the verdict was overturned a few months later.

In 1985 Diana Ross released the album Eaten Alive, written by the Bee Gees, with the title track co-written with Michael Jackson (who also performed on the track). The album was again co-produced by Barry Gibb and the single "Chain Reaction" gave Ross a UK and Australian No.1 hit.

The Bee Gees released the album E.S.P. in 1987, which sold over 3 million copies. It was their first album in six years, and their first for Warner Bros. Records. The single "You Win Again" went to No. 1 in numerous countries, including the UK,^[14] and made the Bee Gees the first group to score a UK No. 1 hit in each of three decades: the 1960s, 1970s, and 1980s.^[15] The single was a disappointment in the US, charting at No. 75, and the Bee Gees voiced their frustration over American radio stations not playing their new European hit single, an omission which the group felt led to poor sales of their current album in the States.

On 10 March 1988, younger brother Andy died, aged 30, as a result of myocarditis, an inflammation of the heart muscle due to a recent viral infection. His brothers acknowledge that Andy's past drug and alcohol use probably made his heart more susceptible to this illness. Just before Andy's death, it had been decided by the group that Andy would join them, which would have made the group a four-piece group. The Bee Gees' following album, One (1989), featured a song dedicated to Andy, "Wish You Were Here". The album also contained their first US top ten hit (No. 7) in a decade, "One". After the album's release, they embarked on their first world tour in ten years.

1990s[link]

In 1990, Polydor Records issued the box set Tales from the Brothers Gibb: A History in Song, which contained all of the group's singles (except 1981's "Living Eyes"), rare B-sides, unreleased tracks, solo material, and live performances. Many songs received new stereo mixes by Bill Inglot with some songs making their CD debut. At the time of its release, Tales was one of the first box sets issued in the music business and it was considered an honour for a group to have one. In the UK, Polydor issued a single disc hits collection from Tales called The Very Best of the Bee Gees, which contained their biggest UK hits. The album became one of their best selling albums in that country, eventually being certified Triple Platinum.

The Bee Gees in Los Angeles in 1992.

Following their next album, High Civilization (1991), which contained the UK top five hit "Secret Love", the Bee Gees went on a European tour. After the tour, Barry Gibb began to battle a serious back problem, which required surgery. In addition, he also suffered from arthritis, and at one point, it was so severe that it was doubtful that he would be able to play guitar for much longer. Also in the early 1990s, Maurice Gibb finally sought treatment for his alcoholism, which he had battled for many years, with the help of Alcoholics Anonymous.

In 1993, the group returned to the Polydor label, and released the album Size Isn't Everything, which contained the UK top five hit "For Whom the Bell Tolls". Success still eluded them in the US, however, as the first single released, "Paying the Price of Love" only managed to reach No. 74 on the Billboard Hot 100 while the parent album stalled at No. 153.

In 1997, they released the album Still Waters, which sold over four million copies, and reached No.2 in the UK (their highest album chart position there since 1979) and No.11 in the US. The album's first single, "Alone", gave them another UK Top 5 hit and a top 30 hit in the US. Still Waters would be the band's most successful US release of their post-RSO era.

At the 1997 BRIT Awards held in Earls Court, London on 24 February, the Bee Gees received the award for Outstanding Contribution to Music.^[16] On 14 November 1997, the Bee Gees performed a live concert in Las Vegas called One Night Only. The show included a performance of "Our Love (Don't Throw It All Away)" synchronised with a vocal by their deceased brother Andy and a cameo appearance by Celine Dion singing "Immortality". The CD of the performance sold over 5 million copies. The "One Night Only" name grew out of the band's declaration that, due to Barry's health issues, the Las Vegas show was to be the final live performance of their career. After the immensely positive audience response to the Vegas concert, Barry decided to continue despite the pain, and the concert expanded into their last full-blown world tour of "One Night Only" concerts.^[17] The tour included playing to 56,000 people at London's Wembley Stadium on 5 September 1998 and concluded in the newly built Olympic Stadium in Sydney, Australia on 27 March 1999 to 72,000 people.^[17]

In 1998, the group's soundtrack for Saturday Night Fever was incorporated into a stage production produced first in the West End and then on Broadway. They wrote three new songs for the adaptation. Also in 1998 the brothers recorded Ellan Vannin for Isle of Man charities. Known as the unofficial national anthem of the Isle of Man, the brothers performed the song during their world tour to reflect their pride in the place of their birth.^[18]

The Bee Gees closed the decade with what turned out to be their last full-sized concert, known as BG2K, on 31 December 1999.

2000–08: Maurice's death and hiatus[link]

In 2001, the group released what turned out to be their final album of new material as a group, This Is Where I Came In. The album was another success, reaching the Top 10 in the UK (being certified Gold), and the Top 20 in the US. The title track was also a UK Top 20 hit single. The album gave each member of the group a chance to write in his own way, as well as composing songs together. For example, Maurice's compositions and leads are the "Man in the Middle" and "Walking on Air," while Robin contributed "Déjà Vu," "Promise the Earth," and "Embrace," and Barry contributed "Loose Talk Costs Lives," "Technicolour Dreams", and "Voice in the Wilderness". The other songs are collaborative in writing and vocals. They performed many tracks from This Is Where I Came In, plus many of their biggest hits, on the live televised concert series Live by Request, shown on the A&E Network. The last concert of the Bee Gees as a trio was at the Love and Hope Ball in 2002.

Maurice, who had been the musical director of the Bee Gees during their final years as a group, died unexpectedly on 12 January 2003 at the age of 53 from a heart attack, while awaiting emergency surgery to repair a strangulated intestine.^[19] Initially, his surviving brothers announced that they intended to carry on the name "Bee Gees" in his memory. But as time passed they decided to retire the group name, leaving it to represent the three brothers together.^[20]

The same week that Maurice died, Robin's solo album Magnet was released. On 23 February 2003, the Bee Gees received the Grammy Legend Award. Barry and Robin accepted as well as Maurice's son, Adam, in a tearful ceremony.

Although there was talk of a memorial concert featuring both surviving brothers and invited guests,^[21] nothing materialised. Barry and Robin continued to work independently, and both released recordings with other artists, occasionally coming together to perform at special events.

In late 2004, Robin embarked on a solo tour of Germany, Russia and Asia. During January 2005, Barry, Robin and several legendary rock artists recorded "Grief Never Grows Old," the official tsunami relief record for the Disasters Emergency Committee. Later that year, Barry reunited with Barbra Streisand for her top-selling album Guilty Pleasures, released as Guilty Too in the UK as a sequel album to the previous Guilty. Robin continued touring in Europe. Also in 2004, Barry recorded his song "I Cannot Give You My Love" with Cliff Richard, which became a UK top 20 hit single.^[22]

In February 2006, Barry and Robin reunited on stage for a Miami charity concert to benefit the Diabetes Research Institute. It was their first public performance together since the death of brother Maurice. Barry and Robin also played at the 30th annual Prince's Trust Concert in the UK on 20 May 2006.

In October 2008, Robin performed a couple of songs in London as part of the BBC Electric Proms Saturday Night Fever performance. This involved various other performers and the BBC Concert Orchestra and was screened on the BBC and BBC interactive services.

2009–12: Return to performing and Robin's death[link]

On 1 September 2009, Barry's 63rd birthday, he, in an interview with Easy Mix radio host Tim Roxborough, mentioned on the subject of future tours that "they will be back"; but in an agreement with Warner/Rhino they would not make an announcement at that time.^[23][24] On 7 September 2009, Robin Gibb disclosed to Jonathan Agnew that he had been in touch with Barry Gibb and that they had agreed that the Bee Gees would re-form and "perform again".^[25]

Barry and Robin performed on the BBC's Strictly Come Dancing on 31 October 2009^[26] and appeared on ABC-TV's Dancing with the Stars on 17 November 2009.^[27] On 15 March 2010, Barry and Robin inducted the Swedish group ABBA into the Rock and Roll Hall of Fame.^[28] On 26 May 2010, the two made a surprise appearance on the ninth season finale of American Idol.

In October 2010, Robin Gibb was interviewed by the Daily Mail, and confirmed that the story of the Bee Gees is to be made into a Hollywood movie by Steven Spielberg. The Oscar-winning director believes the group's journey from unknowns in Manchester to worldwide fame will prove box-office gold. Robin told the Daily Mail: "The movie is going to be done by some very important people. It will be our life story. Barry and I will be involved in the technical side". One of the challenges for Spielberg will be replicating the brothers' distinctive three-part harmonies and Barry's falsetto voice. Robin said: "I'd like our original recordings to be used because it's very hard to emulate them."^[29]

On 13 February 2012, Robin joined British military trio The Soldiers for the Coming Home charity concert at the London Palladium, in support of injured servicemen. It was his first public appearance for almost five months, and his final.

On 20 November 2011 it was announced that Robin Gibb, at 61 years old, was diagnosed with liver cancer, a condition he became aware of several months earlier. He had become noticeably thinner in previous months and had to cancel several appearances due to issues with severe abdominal pain.^[30] On 14 April 2012, it was reported that Gibb had contracted pneumonia^[31] in a Chelsea hospital and was in a coma.^[32] Gibb came out of his coma on 20 April 2012.^[33] He died on 20 May 2012.^[34] With Robin's death, Barry became the last surviving Gibb brother.

Songwriting success[link]

The Bee Gees have sold in excess of 200 million records worldwide.^[35] At one point in 1978, the Gibb brothers were responsible for writing and/or performing nine of the songs in the Billboard Hot 100.^[36] In all, the Gibbs placed 13 singles onto the Hot 100 in 1978, with 12 making the Top 40. The Gibb brothers are fellows of the British Academy of Songwriters, Composers and Authors (BASCA).^[37]

At least 2,500 artists have recorded their songs.^[38] Their most popular composition is "How Deep Is Your Love", with 400 versions by other artists in existence.^[39] Among the artists who have covered their songs are Ardijah, Michael Bolton, Boyzone, Eric Clapton, Billy Corgan, Destiny's Child, Faith No More, Feist, The Flaming Lips, Al Green, Jinusean, Elton John, Tom Jones, Janis Joplin, Lulu, Elvis Presley, Nina Simone, Percy Sledge, Robert Smith, Take That, and John Frusciante (who has covered "How Deep Is Your Love" during Red Hot Chili Peppers concerts). The band's music has also been sampled by dozens of hip hop artists.

Songs written by the Gibbs, but largely better known through versions by other artists, include:

• "Ain't Nothing Gonna Keep Me From You" by Teri DeSario
• "Buried Treasure" by Kenny Rogers (backing vocals The Gatlin Brothers)
• "Chain Reaction" by Diana Ross
• "Come on Over" by Olivia Newton-John
• "Emotion" by Samantha Sang
• "Gilbert Green" by Gerry Marsden
• "Grease" by Frankie Valli
• "Guilty" and "Woman in Love" by Barbra Streisand
• "Heartbreaker" & "All the Love in the World" by Dionne Warwick
• "Hold On to My Love" by Jimmy Ruffin
• "I Will Be There" by Tina Turner
• "If I Can't Have You" by Yvonne Elliman
• "Immortality" by Celine Dion
• "Islands in the Stream" by Kenny Rogers and Dolly Parton
• "Morning of My Life" by Abi and Esther Ofarim
• "Only One Woman" by The Marbles
• "Rest Your Love on Me" by Conway Twitty
• "Sacred Trust" by One True Voice
• "Warm Ride" by Graham Bonnet

The Bee Gees' major non-UK/US breakthrough hit "Spicks and Specks"—a 1966 chart success in Australia (top five) and New Zealand (number one), and in Holland (top five) in 1967—was covered by British rock-pop band Status Quo for their 1968 debut album. And Al Green's 1972 non-single cover of the Bee Gees' massive 1971 North American number one "How Can You Mend a Broken Heart" enjoys a certainly critical and popular following, particularly in the UK.

Awards and recognition[link]

Bee Gees for the television special Billboard No. 1 Music Awards (November 1977) Top to bottom: Barry, Robin and Maurice.

Inductions[link]

• 1979 Hollywood Walk of Fame
• 1994 Songwriters Hall of Fame
• 1995 Florida's Artists Hall of Fame
• 1997 Rock and Roll Hall of Fame
• 1997 ARIA (Australian Recording Industry Association) Hall of Fame
• 2001 Vocal Group Hall of Fame
• 2004 Dance Music Hall of Fame
• 2005 London's Walk of Fame

Grammy Awards[link]

• 1978 Best Pop Vocal Performance By A Group – "How Deep Is Your Love"
• 1979 Best Pop Vocal Performance By A Duo Or Group – "Saturday Night Fever"
• 1979 Best Arrangement Of Voices – "Stayin' Alive"
• 1979 Album Of The Year – "Saturday Night Fever"
• 1979 Producer Of The Year – "Saturday Night Fever"
• 1981 Best Pop Performance By A Duo Or Group With Vocal – "Guilty" (Barry Gibb with Barbra Streisand)
• 2000 Lifetime Achievement Award
• 2003 Legend Award
• 2004 Hall Of Fame Award – "Saturday Night Fever"

World Music Awards[link]

• 1997 Legend Award

American Music Awards[link]

• 1979 Favorite Pop / Rock Band, Duo Or Group
• 1979 Favorite Soul / R&B Album – "Saturday Night Fever"
• 1980 Favorite Pop / Rock Band, Duo Or Group
• 1980 Favorite Pop / Rock Album – "Spirits Having Flown"
• 1997 International Artist Award

BRIT Awards[link]

• 1997 Outstanding Contribution To Music

BMI Awards[link]

• On 15 May 2007, the Bee Gees were named BMI Icons at the 55th annual BMI Pop Awards. Collectively, Barry, Maurice and Robin Gibb have earned 109 BMI Pop, Country and Latin Awards.^[40]

Commemorative stamps[link]

In October 1999 the Isle of Man Post Office unveiled a set of 6 stamps honouring their native sons' music. The official launch took place at the London Palladium where the stage show of Saturday Night Fever was playing. A similar launch was held in New York shortly after to coincide with the show opening across the Atlantic. The songs depicted on the stamps are "Massachusetts", "Words", "I've Gotta Get A Message To You", "Night Fever", "Stayin' Alive" and "Immortality".

Civic honours[link]

In 1978, following the success of Saturday Night Fever, and the single "Night Fever" in particular, Reubin Askew, the Governor of the US state of Florida, named the Bee Gees honorary citizens of the state, since they resided in Miami at the time.^[41]

All three brothers (including Maurice, posthumously) were appointed Commanders in the Order of the British Empire in December 2001 with the ceremony taking place at Buckingham Palace on 27 May 2004.^[42][43]

On 10 July 2009, the Isle of Man's capital bestowed the Freedom of the Borough of Douglas honour on Barry and Robin, as well as posthumously on Maurice.^[44] On 20 November 2009, Douglas Borough Council released a limited edition commemorative DVD to mark their naming as Freemen of the Borough.^[45]

Discography[link]

Studio albums[link]