A book is a set of written, printed, illustrated, or blank sheets, made of ink, paper, parchment, or other materials, usually fastened together to hinge at one side. A single sheet within a book is called a leaf, and each side of a leaf is called a page. A book produced in electronic format is known as an electronic book (e-book).

Books may also refer to works of literature, or a main division of such a work. In library and information science, a book is called a monograph, to distinguish it from serial periodicals such as magazines, journals or newspapers. The body of all written works including books is literature. In novels and sometimes other types of books (for example, biographies), a book may be divided into several large sections, also called books (Book 1, Book 2, Book 3, and so on). A lover of books is usually referred to as a bibliophile or, more informally, a bookworm.

A store where books are bought and sold is a bookstore or bookshop. Books can also be borrowed from libraries. In 2010, Google estimated that since the invention of printing, approximately 130,000,000 unique titles had been published.^[1]

Etymology[link]

The word comes from Old English "bōc" which (itself) comes from the Germanic root "*bōk-", cognate to beech.^[2] Similarly, in Slavic languages (for example, Russian, Bulgarian) "буква" (bukva—"letter") is cognate with "beech". In Russian and in Serbian, another Slavic language, the words "букварь" (bukvar') and "буквар" (bukvar), respectively, refer specifically to a primary school textbook that helps young children master the techniques of reading and writing.

It is thus conjectured that the earliest Indo-European writings may have been carved on beech wood.^[3] Similarly, the Latin word codex, meaning a book in the modern sense (bound and with separate leaves), originally meant "block of wood".

History of books[link]

Antiquity[link]

Sumerian language cuneiform script clay tablet, 2400–2200 BC

When writing systems were invented/created in ancient civilizations, nearly everything that could be written upon—stone, clay, tree bark, metal sheets—was used for writing.The study of such inscriptions forms a major part of history.The study of inscriptions is known as epigraphy. Alphabetic writing emerged in Egypt about 5,000 years ago. The Ancient Egyptians would often write on papyrus, a plant grown along the Nile River. At first the words were not separated from each other (scriptural continua) and there was no punctuation. Texts were written from right to left, left to right, and even so that alternate lines read in opposite directions. The technical term for this type of writing is 'boustrophedon,' which means literally 'ox-turning' for the way a farmer drives an ox to plough his fields.

Tablet[link]

A tablet might be defined as a physically robust writing medium, suitable for casual transport and writing. See also stylus.

Clay tablets were just what they sound like: flattened and mostly dry pieces of clay that could be easily carried, and impressed with a ( possible dampened) stylus. They were used as a writing medium, especially for writing in cuneiform, throughout the Bronze Age and well into the Iron Age.

Wax tablets were wooden planks covered in a thick enough coating of wax to record the impressions of a stylus. They were the normal writing material in schools, in accounting, and for taking notes. They had the advantage of being reusable: the wax could be melted, and reformed into a blank. The custom of binding several wax tablets together (Roman pugillares) is a possible precursor for modern books (i.e. codex).^[4] The etymology of the word codex (block of wood) also suggests that it may have developed from wooden wax tablets.^[5]

Scroll[link]

Egyptian papyrus showing the god Osiris and the weighing of the heart.

Papyrus, a thick paper-like material made by weaving the stems of the papyrus plant, then pounding the woven sheet with a hammer-like tool, was used for writing in Ancient Egypt, perhaps as early as the First Dynasty, although the first evidence is from the account books of King Nefertiti Kakai of the Fifth Dynasty (about 2400 BC).^[6] Papyrus sheets were glued together to form a scroll. Tree bark such as lime and other materials were also used.^[7]

According to Herodotus (History 5:58), the Phoenicians brought writing and papyrus to Greece around the 10th or 9th century BC. The Greek word for papyrus as writing material (biblion) and book (biblos) come from the Phoenician port town Byblos, through which papyrus was exported to Greece.^[8] From Greek we also derive the word tome (Greek: τόμος), which originally meant a slice or piece and from there began to denote "a roll of papyrus". Tomus was used by the Latins with exactly the same meaning as volumen (see also below the explanation by Isidore of Seville).

Whether made from papyrus, parchment, or paper, scrolls were the dominant form of book in the Hellenistic, Roman, Chinese, and Hebrew cultures. The more modern codex book format form took over the Roman world by late antiquity, but the scroll format persisted much longer in Asia.

Codex[link]

A Chinese bamboo book meets the modern definition of Codex

In the 5th century, Isidore of Seville explained the then-current relation between codex, book and scroll in his Etymologiae (VI.13): "A codex is composed of many books; a book is of one scroll. It is called codex by way of metaphor from the trunks (codex) of trees or vines, as if it were a wooden stock, because it contains in itself a multitude of books, as it were of branches." Modern usage differs.

A codex (in modern usage) is the first information repository that modern people would recognize as a "book": leaves of uniform size bound in some manner along one edge, and typically held between two covers made of some more robust material. The first written mention of the codex as a form of book is from Martial, in his Apophoreta CLXXXIV at the end of the century, where he praises its compactness. However, the codex never gained much popularity in the pagan Hellenistic world, and only within the Christian community did it gain widespread use.^[9] This change happened gradually during the 3rd and 4th centuries, and the reasons for adopting the codex form of the book are several: the format is more economical, as both sides of the writing material can be used; and it is portable, searchable, and easy to conceal. The Christian authors may also have wanted to distinguish their writings from the pagan texts written on scrolls.

Middle Ages[link]

Manuscripts[link]

Folio 14 recto of the 5th century Vergilius Romanus contains an author portrait of Virgil. Note the bookcase (capsa), reading stand and the text written without word spacing in rustic capitals.

The fall of the Roman Empire in the 5th century A.D. saw the decline of the culture of ancient Rome. Papyrus became difficult to obtain due to lack of contact with Egypt, and parchment, which had been used for centuries, became the main writing material.

Monasteries carried on the Latin writing tradition in the Western Roman Empire. Cassiodorus, in the monastery of Vivarium (established around 540), stressed the importance of copying texts.^[10] St. Benedict of Nursia, in his Regula Monachorum (completed around the middle of the 6th century) later also promoted reading.^[11] The Rule of St. Benedict (Ch. XLVIII), which set aside certain times for reading, greatly influenced the monastic culture of the Middle Ages and is one of the reasons why the clergy were the predominant readers of books. The tradition and style of the Roman Empire still dominated, but slowly the peculiar medieval book culture emerged.

Before the invention and adoption of the printing press, almost all books were copied by hand, which made books expensive and comparatively rare. Smaller monasteries usually had only a few dozen books, medium-sized perhaps a few hundred. By the 9th century, larger collections held around 500 volumes and even at the end of the Middle Ages, the papal library in Avignon and Paris library of Sorbonne held only around 2,000 volumes.^[12]

Burgundian author and scribe Jean Miélot, from his Miracles de Notre Dame, 15th century.

The scriptorium of the monastery was usually located over the chapter house. Artificial light was forbidden for fear it may damage the manuscripts. There were five types of scribes:

• Calligraphers, who dealt in fine book production
• Copyists, who dealt with basic production and correspondence
• Correctors, who collated and compared a finished book with the manuscript from which it had been produced
• Illuminators, who painted illustrations
• Rubricators, who painted in the red letters

The bookmaking process was long and laborious. The parchment had to be prepared, then the unbound pages were planned and ruled with a blunt tool or lead, after which the text was written by the scribe, who usually left blank areas for illustration and rubrication. Finally, the book was bound by the bookbinder.^[13]

Desk with chained books in the Library of Cesena, Italy.

Different types of ink were known in antiquity, usually prepared from soot and gum, and later also from gall nuts and iron vitriol. This gave writing a brownish black color, but black or brown were not the only colors used. There are texts written in red or even gold, and different colors were used for illumination. For very luxurious manuscripts the whole parchment was colored purple, and the text was written on it with gold or silver (for example, Codex Argenteus).^[14]

Irish monks introduced spacing between words in the 7th century. This facilitated reading, as these monks tended to be less familiar with Latin. However, the use of spaces between words did not become commonplace before the 12th century. It has been argued that the use of spacing between words shows the transition from semi-vocalized reading into silent reading.^[15]

The first books used parchment or vellum (calf skin) for the pages. The book covers were made of wood and covered with leather. Because dried parchment tends to assume the form it had before processing, the books were fitted with clasps or straps. During the later Middle Ages, when public libraries appeared, up to 18th century, books were often chained to a bookshelf or a desk to prevent theft. These chained books are called libri catenati.

At first, books were copied mostly in monasteries, one at a time. With the rise of universities in the 13th century, the Manuscript culture of the time led to an increase in the demand for books, and a new system for copying books appeared. The books were divided into unbound leaves (pecia), which were lent out to different copyists, so the speed of book production was considerably increased. The system was maintained by secular stationers guilds, which produced both religious and non-religious material.^[16]

Judaism has kept the art of the scribe alive up to the present. According to Jewish tradition, the Torah scroll placed in a synagogue must be written by hand on parchment, and a printed book would not do, though the congregation may use printed prayer books, and printed copies of the Scriptures are used for study outside the synagogue. A sofer (scribe) is a highly respected member of any observant Jewish community.

Arab printing techniques[link]

This section may contain inappropriate or misinterpreted citations that do not verify the text. Please help improve this article by checking for inaccuracies. (help, talk, get involved!) (September 2010)

Arabs also produced and bound books in the medieval Islamic world, developing advanced techniques in (Arabic calligraphy), miniatures and bookbinding. A number of cities in the medieval Islamic world had book production centers and book markets. Marrakech, Morocco, had a street named Kutubiyyin or book sellers which contained more than 100 bookshops in the 12th century^{[citation needed]}; the famous Koutoubia Mosque is named so because of its location in this street.

The medieval Islamic world also used a method of reproducing reliable copies of a book in large quantities, known as check reading, in contrast to the traditional method of a single scribe producing only a single copy of a single manuscript. In the check reading method, only "authors could authorize copies, and this was done in public sessions in which the copyist read the copy aloud in the presence of the author, who then certified it as accurate."^[17] With this check-reading system, "an author might produce a dozen or more copies from a single reading," and with two or more readings, "more than one hundred copies of a single book could easily be produced."^[18]

Wood block printing[link]

In woodblock printing, a relief image of an entire page was carved into blocks of wood, inked, and used to print copies of that page. This method originated in China, in the Han dynasty (before 220AD), as a method of printing on textiles and later paper, and was widely used throughout East Asia. The oldest dated book printed by this method is The Diamond Sutra (868 AD).

The method (called Woodcut when used in art) arrived in Europe in the early 14th century. Books (known as block-books), as well as playing-cards and religious pictures, began to be produced by this method. Creating an entire book was a painstaking process, requiring a hand-carved block for each page; and the wood blocks tended to crack, if stored for long. The monks or people who wrote them were paid highly.

Movable type and incunabula[link]

A 15th century incunabulum. Notice the blind-tooled cover, corner bosses and clasps.

The Chinese inventor Bi Sheng made movable type of earthenware circa 1045, but there are no known surviving examples of his printing. Around 1450, in what is commonly regarded as an independent invention, Johannes Gutenberg invented movable type in Europe, along with innovations in casting the type based on a matrix and hand mould. This invention gradually made books less expensive to produce, and more widely available.

Early printed books, single sheets and images which were created before 1501 in Europe are known as incunabula. A man born in 1453, the year of the fall of Constantinople, could look back from his fiftieth year on a lifetime in which about eight million books had been printed, more perhaps than all the scribes of Europe had produced since Constantine founded his city in A.D. 330.^[19]

Modern world[link]

Steam-powered printing presses became popular in the early 19th century. These machines could print 1,100 sheets per hour, but workers could only set 2,000 letters per hour.^{[citation needed]}

Monotype and linotype typesetting machines were introduced in the late 19th century. They could set more than 6,000 letters per hour and an entire line of type at once.

The centuries after the 15th century were thus spent on improving both the printing press and the conditions for freedom of the press through the gradual relaxation of restrictive censorship laws. See also intellectual property, public domain, copyright. In mid-20th century, European book production had risen to over 200,000 titles per year.

Book manufacturing in the modern world[link]

This section is too long. Consider either splitting it into new page or sub-sections or summarizing it.

The spine of the book is an important aspect in book design, especially in the cover design. When the books are stacked up or stored in a shelf, the details on the spine is the only visible surface that contains the information about the book. In stores, it is the details on the spine that attract buyers' attention first.

The methods used for the printing and binding of books continued fundamentally unchanged from the 15th century into the early years of the 20th century. While there was of course more mechanization, Gutenberg would have had no difficulty in understanding what was going on if he had visited a book printer in 1900.

Gutenberg's invention was the use of movable metal types, assembled into words, lines, and pages and then printed by letterpress. In letterpress printing ink is spread onto the tops of raised metal type, and is transferred onto a sheet of paper which is pressed against the type. Sheet-fed letterpress printing is still available but tends to be used for collector's books and is now more of an art form than a commercial technique (see Letterpress).

Modern paper books are printed on papers which are designed specifically for the publication of printed books. Traditionally, book papers are off white or low white papers (easier to read), are opaque to minimise the show through of text from one side of the page to the other and are (usually) made to tighter caliper or thickness specifications, particularly for case bound books. Typically, books papers are light weight papers 60 to 90 g/m² and often specified by their caliper/substance ratios (volume basis). For example, a bulky 80 g/m² paper may have a caliper of 120 micrometres (0.12 mm) which would be Volume 15 (120×10/80) whereas a low bulk 80 g/m² may have a caliper of 88 micrometres, giving a volume 11. This volume basis then allows the calculation of a books PPI (printed pages per inch) which is an important factor for the design of book jackets and the binding of the finished book. Different paper qualities are used as book paper depending on type of book: Machine finished coated papers, woodfree uncoated papers, coated fine papers and special fine papers are common paper grades.

Today, the majority of books are printed by offset lithography in which an image of the material to be printed is photographically or digitally transferred to a flexible metal plate where it is developed to exploit the antipathy between grease (the ink) and water. When the plate is mounted on the press, water is spread over it. The developed areas of the plate repel water thus allowing the ink to adhere to only those parts of the plate which are to print. The ink is then offset onto a rubbery blanket (to prevent water from soaking the paper) and then finally to the paper.

When a book is printed the pages are laid out on the plate so that after the printed sheet is folded the pages will be in the correct sequence. Books tend to be manufactured nowadays in a few standard sizes. The sizes of books are usually specified as "trim size": the size of the page after the sheet has been folded and trimmed. Trimming involves cutting approximately 1/8" off top, bottom and fore-edge (the edge opposite to the spine) as part of the binding process to remove the folds so that the pages can be opened. The standard sizes result from sheet sizes (therefore machine sizes) which became popular 200 or 300 years ago, and have come to dominate the industry. The basic standard commercial book sizes in the United States, always expressed as width × height, are: 4¼" × 7" (rack size paperback), 5⅛" × 7⅝" (digest size paperback), 5½" × 8¼", 5½" × 8½", 6⅛" × 9¼", 7" × 10", and 8½" × 11". These "standard" trim sizes will often vary slightly depending on the particular printing presses used, and on the imprecision of the trimming operation. Of course other trim sizes are available, and some publishers favor sizes not listed here which they might nominate as "standard" as well, such as 6" × 9", 8" × 10". In Britain the equivalent standard sizes differ slightly, as well as now being expressed in millimeters, and with height preceding width. Thus the UK equivalent of 6⅛" × 9¼" is 234 × 156 mm. British conventions in this regard prevail throughout the English speaking world, except for USA. The European book manufacturing industry works to a completely different set of standards.

Some books, particularly those with shorter runs (i.e. of which fewer copies are to be made) will be printed on sheet-fed offset presses, but most books are now printed on web presses, which are fed by a continuous roll of paper, and can consequently print more copies in a shorter time. On a sheet-fed press a stack of sheets of paper stands at one end of the press, and each sheet passes through the press individually. The paper will be printed on both sides and delivered, flat, as a stack of paper at the other end of the press. These sheets then have to be folded on another machine which uses bars, rollers and cutters to fold the sheet up into one or more signatures. A signature is a section of a book, usually of 32 pages, but sometimes 16, 48 or even 64 pages. After the signatures are all folded they are gathered: placed in sequence in bins over a circulating belt onto which one signature from each bin is dropped. Thus as the line circulates a complete "book" is collected together in one stack, next to another, and another.

A web press carries out the folding itself, delivering bundles of signatures ready to go into the gathering line. Notice that when the book is being printed it is being printed one (or two) signatures at a time, not one complete book at a time. Thus if there are to be 10,000 copies printed, the press will run 10,000 of the first form (the pages imaged onto the first plate and its back-up plate, representing one or two signatures), then 10,000 of the next form, and so on till all the signatures have been printed. Actually, because there is a known average spoilage rate in each of the steps in the book's progress through the manufacturing system, if 10,000 books are to be made, the printer will print between 10,500 and 11,000 copies so that subsequent spoilage will still allow the delivery of the ordered quantity of books. Sources of spoilage tend to be mainly make-readies.

A make-ready is the preparatory work carried out by the pressmen to get the printing press up to the required quality of impression. Included in make-ready is the time taken to mount the plate onto the machine, clean up any mess from the previous job, and get the press up to speed. The main part of making-ready is however getting the ink/water balance right, and ensuring that the inking is even across the whole width of the paper. This is done by running paper through the press and printing waste pages while adjusting the press to improve quality. Densitometers are used to ensure even inking and consistency from one form to another. As soon as the pressman decides that the printing is correct, all the make-ready sheets will be discarded, and the press will start making books. Similar make readies take place in the folding and binding areas, each involving spoilage of paper.

After the signatures are folded and gathered, they move into the bindery. In the middle of the last century there were still many trade binders – stand-alone binding companies which did no printing, specializing in binding alone. At that time, largely because of the dominance of letterpress printing, the pattern of the industry was for typesetting and printing to take place in one location, and binding in a different factory. When type was all metal, a typical book's worth of type would be bulky, fragile and heavy. The less it was moved in this condition the better: so it was almost invariable that printing would be carried out in the same location as the typesetting. Printed sheets on the other hand could easily be moved. Now, because of the increasing computerization of the process of preparing a book for the printer, the typesetting part of the job has flowed upstream, where it is done either by separately contracting companies working for the publisher, by the publishers themselves, or even by the authors. Mergers in the book manufacturing industry mean that it is now unusual to find a bindery which is not also involved in book printing (and vice versa).

If the book is a hardback its path through the bindery will involve more points of activity than if it is a paperback. A paperback binding line (a number of pieces of machinery linked by conveyor belts) involves few steps. The gathered signatures, book blocks, will be fed into the line where they will one by one be gripped by plates converging from each side of the book, turned spine up and advanced towards a gluing station. En route the spine of the book block will be ground off leaving a roughened edge to the tightly gripped collection of pages. The grinding leaves fibers which will grip onto the glue which is then spread onto the spine of the book. Covers then meet up with the book blocks, and one cover is dropped onto the glued spine of each book block, and is pressed against the spine by rollers. The book is then carried forward to the trimming station, where a three-knife trimmer will simultaneously cut the top and bottom and the fore-edge of the paperback to leave clear square edges. The books are then packed into cartons, or packed on skids, and shipped.

Binding a hardback is more complicated. Look at a hardback book and you will see the cover overlaps the pages by about 1/8" all round. These overlaps are called squares. The blank piece of paper inside the cover is called the endpaper, or endsheet: it is of somewhat stronger paper than the rest of the book as it is the endpapers that hold the book into the case. The endpapers will be tipped to the first and last signatures before the separate signatures are placed into the bins on the gathering line. Tipping involves spreading some glue along the spine edge of the folded endpaper and pressing the endpaper against the signature. The gathered signatures are then glued along the spine, and the book block is trimmed, like the paperback, but will continue after this to the rounder and backer. The book block together with its endpapers will be gripped from the sides and passed under a roller with presses it from side to side, smashing the spine down and out around the sides so that the entire book takes on a rounded cross section: convex on the spine, concave at the fore-edge, with "ears" projecting on either side of the spine. Then the spine is glued again, a paper liner is stuck to it and headbands and footbands are applied. Next a crash lining (an open weave cloth somewhat like a stronger cheesecloth) is usually applied, overlapping the sides of the spine by an inch or more. Finally the inside of the case, which has been constructed and foil-stamped off-line on a separate machine, is glued on either side (but not on the spine area) and placed over the book block. This entire sandwich is now gripped from the outside and pressed together to form a solid bond between the endpapers and the inside of the case. The crash lining, which is glued to the spine of the pages, but not the spine of the case, is held between the endpapers and the case sides, and in fact provides most of the strength holding the book block into the case. The book will then be jacketed (most often by hand, allowing this stage to be an inspection stage also) before being packed ready for shipment.

The sequence of events can vary slightly, and usually the entire sequence does not occur in one continuous pass through a binding line. What has been described above is unsewn binding, now increasingly common. The signatures of a book can also be held together by Smyth sewing. Needles pass through the spine fold of each signature in succession, from the outside to the center of the fold, sewing the pages of the signature together and each signature to its neighbors. McCain sewing, often used in schoolbook binding, involves drilling holes through the entire book and sewing through all the pages from front to back near the spine edge. Both of these methods mean that the folds in the spine of the book will not be ground off in the binding line. This is true of another technique, notch binding, where gashes about an inch long are made at intervals through the fold in the spine of each signature, parallel to the spine direction. In the binding line glue is forced into these "notches" right to the center of the signature, so that every pair of pages in the signature is bonded to every other one, just as in the Smyth sewn book. The rest of the binding process is similar in all instances. Sewn and notch bound books can be bound as either hardbacks or paperbacks.

Making cases happens off-line and prior to the book's arrival at the binding line. In the most basic case making, two pieces of cardboard are placed onto a glued piece of cloth with a space between them into which is glued a thinner board cut to the width of the spine of the book. The overlapping edges of the cloth (about 5/8" all round) are folded over the boards, and pressed down to adhere. After case making the stack of cases will go to the foil stamping area. Metal dies, photoengraved elsewhere, are mounted in the stamping machine and rolls of foil are positioned to pass between the dies and the case to be stamped. Heat and pressure cause the foil to detach from its backing and adhere to the case. Foils come in various shades of gold and silver and in a variety pigment colors, and by careful setup quite elaborate effects can be achieved by using different rolls of foil on the one book. Cases can also be made from paper which has been printed separately and then protected with clear film lamination. A three-piece case is made similarly but has a different material on the spine and overlapping onto the sides: so it starts out as three pieces of material, one each of a cheaper material for the sides and the different, stronger material for the spine.

Recent developments in book manufacturing include the development of digital printing. Book pages are printed, in much the same way as an office copier works, using toner rather than ink. Each book is printed in one pass, not as separate signatures. Digital printing has permitted the manufacture of much smaller quantities than offset, in part because of the absence of make readies and of spoilage. One might think of a web press as printing quantities over 2000, quantities from 250 to 2000 being printed on sheet-fed presses, and digital presses doing quantities below 250. These numbers are of course only approximate and will vary from supplier to supplier, and from book to book depending on its characteristics. Digital printing has opened up the possibility of print-on-demand, where no books are printed until after an order is received from a customer.

Digital format[link]

The term e-book is a contraction of "electronic book"; it refers to a book-length publication in digital form.^[20] An e-book is usually made available through the internet, but also on CD-ROM and other forms. E-Books may be read either via a computer or by means of a portable book display device known as an e-book reader, such as the Sony Reader, Barnes & Noble Nook or the Amazon Kindle. These devices attempt to mimic the experience of reading a print book.

Throughout the 20th century, libraries have faced an ever-increasing rate of publishing, sometimes called an information explosion. The advent of electronic publishing and the Internet means that much new information is not printed in paper books, but is made available online through a digital library, on CD-ROM, or in the form of e-books. An on-line book is an e-book that is available online through the internet.

Though many books are produced digitally, most digital versions are not available to the public, and there is no decline in the rate of paper publishing.^[21] There is an effort, however, to convert books that are in the public domain into a digital medium for unlimited redistribution and infinite availability. This effort is spearheaded by Project Gutenberg combined with Distributed Proofreaders.

There have also been new developments in the process of publishing books. Technologies such as print on demand, which make it possible to print as few as one book at a time, have made self-publishing much easier and more affordable. On-demand publishing has allowed publishers, by avoiding the high costs of warehousing, to keep low-selling books in print rather than declaring them out of print.

Book design[link]

Book design is the art of incorporating the content, style, format, design, and sequence of the various components of a book into a coherent whole.

In the words of Jan Tschichold, book design "though largely forgotten today, methods and rules upon which it is impossible to improve have been developed over centuries. To produce perfect books these rules have to be brought back to life and applied." Richard Hendel describes book design as "an arcane subject" and refers to the need for a context to understand what that means.

Sizes[link]

Real-size facsimile of Codex Gigas

The size of a modern book is based on the printing area of a common flatbed press. The pages of type were arranged and clamped in a frame, so that when printed on a sheet of paper the full size of the press, the pages would be right side up and in order when the sheet was folded, and the folded edges trimmed.

The most common book sizes are:

• Quarto (4to): the sheet of paper is folded twice, forming four leaves (eight pages) approximately 11-13 inches (ca 30 cm) tall
• Octavo (8vo): the most common size for current hardcover books. The sheet is folded three times into eight leaves (16 pages) up to 9 ¾" (ca 23 cm) tall.
• DuoDecimo (12mo): a size between 8vo and 16mo, up to 7 ¾" (ca 18 cm) tall
• Sextodecimo (16mo): the sheet is folded four times, forming 16 leaves (32 pages) up to 6 ¾" (ca 15 cm) tall

Sizes smaller than 16mo are:

• 24mo: up to 5 ¾" (ca 13 cm) tall.
• 32mo: up to 5" (ca 12 cm) tall.
• 48mo: up to 4" (ca 10 cm) tall.
• 64mo: up to 3" (ca 8 cm) tall.

Small books can be called booklets.

Sizes larger than quarto are:

• Folio: up to 15" (ca 38 cm) tall.
• Elephant Folio: up to 23" (ca 58 cm) tall.
• Atlas Folio: up to 25" (ca 63 cm) tall.
• Double Elephant Folio: up to 50" (ca 127 cm) tall.

The largest extant medieval manuscript in the world is Codex Gigas 92 × 50 × 22 cm. The world's largest book made of stone is in Kuthodaw Pagoda (Burma).

The longest book title in the world is 670 words long.

Types of books[link]

Types of books according to their contents[link]

Novels in a Polish bookstore

A common separation by content are fiction and non-fictional books. By no means are books limited to this classification, but it is a separation that can be found in most collections, libraries, and bookstores.

Fiction[link]

Many of the books published today are fictitious stories. They are in-part or completely untrue or fantasy. Historically, paper production was considered too expensive to be used for entertainment. An increase in global literacy and print technology led to the increased publication of books for the purpose of entertainment, and allegorical social commentary. Most fiction is additionally categorized by genre.

The novel is the most common form of fictional book. Novels are stories that typically feature a plot, setting, themes and characters. Stories and narrative are not restricted to any topic; a novel can be whimsical, serious or controversial. The novel has had a tremendous impact on entertainment and publishing markets.^[22] A novella is a term sometimes used for fictional prose typically between 17,500 and 40,000 words, and a novelette between 7,500 and 17,500. A Short story may be any length up to 10,000 words, but these word lengths are not universally established.

Comic books or graphic novels are books in which the story is illustrated. The characters and narrators use speech or thought bubbles to express verbal language.

Non-fiction[link]

A page from a dictionary

In a library, a reference book is a general type of non-fiction book which provides information as opposed to telling a story, essay, commentary, or otherwise supporting a point of view. An almanac is a very general reference book, usually one-volume, with lists of data and information on many topics. An encyclopedia is a book or set of books designed to have more in-depth articles on many topics. A book listing words, their etymology, meanings, and other information is called a dictionary. A book which is a collection of maps is an atlas. A more specific reference book with tables or lists of data and information about a certain topic, often intended for professional use, is often called a handbook. Books which try to list references and abstracts in a certain broad area may be called an index, such as Engineering Index, or abstracts such as chemical abstracts and biological abstracts.

An atlas

Books with technical information on how to do something or how to use some equipment are called instruction manuals. Other popular how-to books include cookbooks and home improvement books.

Students typically store and carry textbooks and schoolbooks for study purposes. Elementary school pupils often use workbooks, which are published with spaces or blanks to be filled by them for study or homework. In US higher education, it is common for a student to take an exam using a blue book.

A page from a notebook used as hand written diary

There is a large set of books that are made only to write private ideas, notes, and accounts. These books are rarely published and are typically destroyed or remain private. Notebooks are blank papers to be written in by the user. Students and writers commonly use them for taking notes. Scientists and other researchers use lab notebooks to record their notes. They often feature spiral coil bindings at the edge so that pages may easily be torn out.

A Telephone Directory, with business and residence listings.

Address books, phone books, and calendar/appointment books are commonly used on a daily basis for recording appointments, meetings and personal contact information.

Books for recording periodic entries by the user, such as daily information about a journey, are called logbooks or simply logs. A similar book for writing the owner's daily private personal events, information, and ideas is called a diary or personal journal.

Businesses use accounting books such as journals and ledgers to record financial data in a practice called bookkeeping.

Other types[link]

There are several other types of books which are not commonly found under this system. Albums are books for holding a group of items belonging to a particular theme, such as a set of photographs, card collections, and memorabilia. One common example is stamp albums, which are used by many hobbyists to protect and organize their collections of postage stamps. Such albums are often made using removable plastic pages held inside in a ringed binder or other similar smolder. Picture books children's books with little text and pictures on every page

Hymnals are books with collections of musical hymns that can typically be found in churches. Prayerbooks or missals are books that contain written prayers and are commonly carried by monks, nuns, and other devoted followers or clergy.

Types of books according to their binding or cover[link]

Hardcover books

Paperback books

Hardcover books have a stiff binding. Paperback books have cheaper, flexible covers which tend to be less durable. An alternative to paperback is the glossy cover, otherwise known as a dust cover, found on magazines, and comic books. Spiral-bound books are bound by spirals made of metal or plastic. Examples of spiral-bound books include: teachers' manuals and puzzle books (crosswords, sudoku).

Publishing is a process for producing pre-printed books, magazines, and newspapers for the reader/user to buy.

Publishers may produce low-cost, pre-publication copies known as galleys or 'bound proofs' for promotional purposes, such as generating reviews in advance of publication. Galleys are usually made as cheaply as possible, since they are not intended for sale.

Collections of books[link]

Celsus Library was built in 135 AD and could house around 12,000 scrolls.

Private or personal libraries made up of non-fiction and fiction books, (as opposed to the state or institutional records kept in archives) first appeared in classical Greece. In ancient world the maintaining of a library was usually (but not exclusively) the privilege of a wealthy individual. These libraries could have been either private or public, i.e. for people who were interested in using them. The difference from a modern public library lies in the fact that they were usually not funded from public sources. It is estimated that in the city of Rome at the end of the 3rd century there were around 30 public libraries. Public libraries also existed in other cities of the ancient Mediterranean region (for example, Library of Alexandria).^[23] Later, in the Middle Ages, monasteries and universities had also libraries that could be accessible to general public. Typically not the whole collection was available to public, the books could not be borrowed and often were chained to reading stands to prevent theft.

The beginning of modern public library begins around 15th century when individuals started to donate books to towns.^[24] The growth of a public library system in the United States started in the late 19th century and was much helped by donations from Andrew Carnegie. This reflected classes in a society: The poor or the middle class had to access most books through a public library or by other means while the rich could afford to have a private library built in their homes. In the United States the Boston Public Library 1852 Report of the Trustees established the justification for the public library as a tax-supported institution intended to extend educational opportunity and provide for general culture.^[25]

The advent of paperback books in the 20th century led to an explosion of popular publishing. Paperback books made owning books affordable for many people. Paperback books often included works from genres that had previously been published mostly in pulp magazines. As a result of the low cost of such books and the spread of bookstores filled with them (in addition to the creation of a smaller market of extremely cheap used paperbacks) owning a private library ceased to be a status symbol for the rich.

In library and booksellers' catalogues, it is common to include an abbreviation such as "Crown 8vo" to indicate the paper size from which the book is made.

When rows of books are lined on a book holder, bookends are sometimes needed to keep them from slanting.

Identification and classification[link]

During the 20th century, librarians were concerned about keeping track of the many books being added yearly to the Gutenberg Galaxy. Through a global society called the International Federation of Library Associations and Institutions (IFLA), they devised a series of tools including the International Standard Bibliographic Description (ISBD).

ISBN with barcode

Each book is specified by an International Standard Book Number, or ISBN, which is unique to every edition of every book produced by participating publishers, world wide. It is managed by the ISBN Society. An ISBN has four parts: the first part is the country code, the second the publisher code, and the third the title code. The last part is a check digit, and can take values from 0–9 and X (10). The EAN Barcodes numbers for books are derived from the ISBN by prefixing 978, for Bookland, and calculating a new check digit.

Commercial publishers in industrialized countries generally assign ISBNs to their books, so buyers may presume that the ISBN is part of a total international system, with no exceptions. However, many government publishers, in industrial as well as developing countries, do not participate fully in the ISBN system, and publish books which do not have ISBNs.

A large or public collection requires a catalogue. Codes called "call numbers" relate the books to the catalogue, and determine their locations on the shelves. Call numbers are based on a Library classification system. The call number is placed on the spine of the book, normally a short distance before the bottom, and inside.

Institutional or national standards, such as ANSI/NISO Z39.41 - 1997, establish the correct way to place information (such as the title, or the name of the author) on book spines, and on "shelvable" book-like objects, such as containers for DVDs, video tapes and software.

Books on library shelves with bookends, and call numbers visible on the spines

One of the earliest and most widely known systems of cataloguing books is the Dewey Decimal System. Another widely known system is the Library of Congress Classification system. Both systems are biased towards subjects which were well-represented in US libraries when they were developed, and hence have problems handling new subjects, such as computing, or subjects relating to other cultures.^{[citation needed]}

Information about books and authors can be stored in databases like online general-interest book databases.

Metadata about a book may include its ISBN or other classification number (see above), the names of contributors (author, editor, illustrator) and publisher, its date and size, and the language of the text.

Classification systems[link]

• Bliss bibliographic classification (BC)
• Chinese Library Classification (CLC)
• Colon Classification
• Dewey Decimal Classification (DDC)
• Harvard-Yenching Classification
• Library of Congress Classification (LCC)
• New Classification Scheme for Chinese Libraries
• Universal Decimal Classification (UDC)

Uses for books[link]

Aside from the primary purpose of reading them, books are also used for other ends:

• A book can be an artistic artifact, a piece of art; this is sometimes known as an artists' book.
• A book may be evaluated by a reader or professional writer to create a book review.
• A book may be read by a group of people to use as a spark for social or academic discussion, as in a book club.
• A book may be studied by students as the subject of a writing and analysis exercise in the form of a book report.
• Books are sometimes used for their exterior appearance to decorate a room, such as a study.

Paper and conservation issues[link]

Halfbound book with leather and marbled paper.

Though papermaking in Europe had begun around the 11th century, up until the beginning of 16th century vellum and paper were produced congruent to one another, vellum being the more expensive and durable option. Printers or publishers would often issue the same publication on both materials, to cater to more than one market.

Paper was first made in China, as early as 200 B.C., and reached Europe through Muslim territories. At first made of rags, the industrial revolution changed paper-making practices, allowing for paper to be made out of wood pulp.

Paper made from wood pulp became popular in the early 20th century, because it was cheaper than linen or abaca cloth-based papers. Pulp-based paper made books less expensive to the general public. This paved the way for huge leaps in the rate of literacy in industrialised nations, and enabled the spread of information during the Second Industrial Revolution.

However pulp paper contained acid, that eventually destroys the paper from within. Earlier techniques for making paper used limestone rollers, which neutralized the acid in the pulp. Books printed between 1850 and 1950 are at risk; more recent books are often printed on acid-free or alkaline paper. Libraries today have to consider mass deacidification of their older collections.

Stability of the climate is critical to the long-term preservation of paper and book material.^[26] Good air circulation is important to keep fluctuation in climate stable. The HVAC system should be up to date and functioning efficiently. Light is detrimental to collections. Therefore, care should be given to the collections by implementing light control. General housekeeping issues can be addressed, including pest control. In addition to these helpful solutions, a library must also make an effort to be prepared if a disaster occurs, one that they cannot control. Time and effort should be given to create a concise and effective disaster plan to counteract any damage incurred through "acts of god" therefore an emergency management plan should be in place.

See also[link]

References[link]

External links[link]

Wikibooks has more on the topic of Book

Look up book in Wiktionary, the free dictionary.

Find more about Book on Wikipedia's sister projects:
	Definitions and translations from Wiktionary
	Images and media from Commons
	Learning resources from Wikiversity
	News stories from Wikinews
	Quotations from Wikiquote
	Source texts from Wikisource
	Textbooks from Wikibooks

• Centre for the History of the Book
• Manuscripts, Books, and Maps: The Printing Press and a Changing World
• Society for the History of Authorship, Reading and Publishing
• Old Books, How to find information on publication history and value (1998) Smithsonian Institution Libraries

lez:Улуб

Peter Gabriel
Peter Gabriel at the Wikipedia 10th anniversary party in London in January 2011.
Background information
Birth name	Peter Brian Gabriel
Born	(1950-02-13) 13 February 1950 (age 62) Chobham, Surrey, England, United Kingdom
Genres	Progressive rock, art rock, experimental rock, pop rock, world music
Occupations	Musician Producer Humanitarian
Instruments	Vocals, keyboards, flute, drums, piano, guitar, bass, harmonica, oboe
Years active	1967–present
Labels	Geffen (US & Canada), Real World, Virgin, Charisma, Atlantic (US & Canada), EMI (Brazil)
Associated acts	Genesis, Laurie Anderson, Kate Bush
Website	www.petergabriel.com

Peter Brian Gabriel (born 13 February 1950) is an English singer, musician, and songwriter who rose to fame as the lead vocalist and flautist of the progressive rock group Genesis.^[1] After leaving Genesis, Gabriel went on to a successful solo career. His 1986 album, So, is his most commercially successful, and the album's biggest hit, "Sledgehammer", won a record nine MTV Awards at the 1987 MTV Video Music Awards, and the song is the most played music video in the history of the station.^[2]

More recently, Gabriel has focused on producing and promoting world music and pioneering digital distribution methods for music. He has also been involved in various humanitarian efforts. Gabriel has won numerous music awards throughout his career, including three Brit Awards—winning Best British Male in 1987, six Grammy Awards, thirteen MTV Video Music Awards, and in 2007 he was honoured as a BMI Icon at the 57th annual BMI London Awards for his “influence on generations of music makers.”^[3][4][5] Gabriel was also awarded the Polar Music Prize in 2009, and was inducted into the Rock and Roll Hall of Fame as a member of Genesis in 2010.

Early life[link]

Peter Gabriel was born in Chobham, Surrey, England.^[6] His father, Ralph Parton Gabriel, was an electrical engineer, and his mother, Edith Irene Allen,^[7] from a musical family, taught him to play the piano at an early age. He attended Cable House, a private primary (pre-prep) school in Woking, Surrey, St. Andrews Prep School in Horsell, then Charterhouse School (Godalming) from 1963. He played drums in his first rock bands, and Mike Rutherford commented in 1985 that "Pete was - and still is, I think - a frustrated drummer."^[8]

Genesis[link]

Gabriel founded Genesis in 1967 with fellow Charterhouse School pupils Tony Banks, Anthony Phillips, Mike Rutherford, and drummer Chris Stewart. The name of the band was suggested by fellow Charterhouse alumnus, the pop music impresario Jonathan King, who produced their first album, From Genesis to Revelation.

Gabriel was influenced by many different sources in his way of singing, such as Family lead singer Roger Chapman. In 1970, he played the flute on Cat Stevens' album, Mona Bone Jakon.

Genesis drew some attention in England and eventually also in Italy, Belgium, Germany and other European countries, largely due to Gabriel's flamboyant stage presence, which involved numerous bizarre costume changes and comical, dreamlike stories told as the introduction to each song (originally Gabriel developed these stories solely to cover the time between songs that the rest of the band would take tuning their instruments and fixing technical glitches). The concerts made extensive use of black light with the normal stage lighting subdued or off. A backdrop of fluorescent white sheets and a comparatively sparse stage made the band into a set of silhouettes, with Gabriel's fluorescent costume and make-up providing the only other sources of light.

Costumes[link]

Gabriel as "Britannia", or "The Moonlit Knight" 1974

Early Genesis concerts were hampered by a bad PA system which made it difficult for audiences to understand what Gabriel was singing. According to Mike Rutherford, this drove Gabriel to find other ways to impress his personality on the audience, leading to his performing in various costumes.^[8]

In an episode of the 2007 British documentary series Seven Ages of Rock, Steve Hackett recalled the first appearance of Gabriel 'in costume'. It was the dress-wearing, fox-headed entity immortalised on the cover of Foxtrot. Hackett and the rest of the band had no inkling that Gabriel was going to do this, and at the time Hackett worried that it would ruin the performance. However, it was a success, encouraging Gabriel to continue wearing costumes while singing.

Among Gabriel's many famous costumes, which he developed to visualise the musical ideas of the band as well as to gain press coverage, were "Batwings" for the band's usual opening number, "Watcher of the Skies".

Other costumes included "The Flower" and "Magog", which were both alternately worn for "Supper's Ready" from the album Foxtrot.

"Britannia" was worn for "Dancing with the Moonlit Knight", and "The Reverend" was worn for "The Battle of Epping Forest" from Selling England by the Pound.

"The Old Man" was worn for "The Musical Box" from Nursery Cryme.

"The Slipperman" and "Rael" were worn during "The Colony of Slippermen", in which "Rael" was the protagonist of the album The Lamb Lies Down on Broadway.

Departure[link]

Gabriel's departure from Genesis in 1975—which stunned fans of the group and left many commentators wondering if the band could survive—was the result of a number of factors. His stature as the lead singer of the band, and the added attention garnered by his flamboyant stage persona, led to tensions within the band. Genesis had always operated more or less as a collective, and Gabriel's burgeoning public profile led to fears within the group that he was being unfairly singled out as the creative hub. The band had also begun to feel confined by the reputation (and fans' expectations) attached to their famously elaborate theatrical performances, believing that the visual element of their performances was receiving more attention than their actual music.

Tensions were heightened by the ambitious album and tour of the concept work The Lamb Lies Down on Broadway, a Gabriel-created concept piece which saw him taking on the lion's share of the lyric writing. During the writing and recording of The Lamb Lies Down on Broadway, Gabriel was approached by director William Friedkin, allegedly because Friedkin had found Gabriel's short story in the liner notes to Genesis Live interesting. Gabriel left Genesis to pursue a film project with Friedkin, only to rejoin a week later.^[8] The decision to quit the band was made before the tour supporting The Lamb Lies Down on Broadway, with Gabriel explaining his decision to the band while keeping it from the press until the conclusion of that tour. Bassist Mike Rutherford recalled that they all "could see it coming."^[8] Although tensions were high, both Gabriel and the remaining members of Genesis have stated publicly that Gabriel left the band on good terms.

The breaking point came with the difficult pregnancy of Gabriel's wife, Jill, and the subsequent birth of their first child, Anna-Marie. When he opted to stay with his sick daughter and wife, rather than record and tour, the resentment from the rest of the band led Gabriel to conclude that he had to leave the group. "Solsbury Hill", Gabriel's debut single as a solo artist, was written specifically about his departure from Genesis. The song also charted on the Billboard Hot 100 in 1978,^[9] reaching the Top 70, though it was recorded in 1976, and appeared on the 'Car' album in 1977. In 1982, Gabriel reunited with his former Genesis colleagues for the one-off concert Six of the Best, in order to recoup debts that arose from his involvement in the staging of the first WOMAD concert.

Solo career[link]

Gabriel refused to title any of his first four solo albums, which were all labelled Peter Gabriel using the same typeface, but which featured different cover designs (by Hipgnosis); in all of these designs, Gabriel's face is wholly or partially obscured in some way. The albums are usually differentiated by number in order of release (I, II, III, IV), or by sleeve design, with the first three solo albums often referred to as Car, Scratch and Melt respectively, in reference to their cover artwork. His fourth solo album, also called Peter Gabriel, was titled Security in the U.S. at the behest of Geffen Records.

After acquiescing to distinctive titles, Gabriel used a series of 2-letter words to title his next three albums: So, Us, and Up. His most recent greatest hits compilation is titled Hit; within the two-CD package, disc one is labelled "Hit" and disc two is labelled "Miss".

[edit] Peter Gabriel albums (1977–1985)

Gabriel performing, August 1978

Gabriel recorded his first self-titled solo album in 1976 and 1977 with producer Bob Ezrin. His first solo success came with the single "Solsbury Hill", an autobiographical piece expressing his thoughts on leaving Genesis. Although mainly happy with the music, Gabriel felt that the album, and especially the track "Here Comes the Flood" was over-produced. Sparser versions can be heard on Robert Fripp's Exposure, and on Gabriel's greatest hits compilation Shaking the Tree (1990).

Gabriel worked with guitarist Fripp as producer of his second solo LP, in 1978. This album was leaner, darker and more experimental, and yielded decent reviews, but no major hits.

Gabriel developed a new interest in world music (especially percussion), and for bold production, which made extensive use of recording tricks and sound effects. Gabriel's interest in music technology is considered by many people to be the spark of his success as it inspired his third album. The third album is often credited as the first LP to use the now-famous "gated drum" sound.^[10] Phil Collins played drums on several tracks, including the opener, "Intruder", which featured the reverse-gated, cymbal-less drum kit sound which Collins would also use on his single "In the Air Tonight" and through the rest of the 1980s. Gabriel had requested that his drummers use no cymbals in the album's sessions, and when he heard the result he asked Collins to play a simple pattern for several minutes, then built "Intruder" around it. The album achieved some chart success with the songs "Games Without Frontiers" (#4 U.K, #48 U.S.), and "Biko".

Arduous and occasionally damp recording sessions at his rural English estate in 1981 and 1982 resulted in Gabriel's fourth LP release, on which Gabriel took more production responsibility. It was one of the first commercial albums recorded entirely to digital tape (using a Sony mobile truck), and featured the early, extremely expensive, Fairlight CMI sampling computer, which had already made its first brief appearances on the previous album. Gabriel combined a variety of sampled and deconstructed sounds with world-beat percussion and other unusual instrumentation to create a radically new, emotionally charged soundscape. Furthermore, the sleeve art consisted of inscrutable, video-based imagery. Despite the album's peculiar sound, odd appearance, and often disturbing themes, it sold very well. This album featured his first Top 40 hit in the U.S., "Shock the Monkey", as well as the song "I Have the Touch". The music video for "Shock the Monkey", which featured Gabriel in white face paint and a caged macaque, held the #1 spot on "MTV" for 9 weeks. Geffen records forced Peter to give his fourth self-titled album a name in the US - Security - to mark his arrival on the label and to differentiate his fourth album from the other three.

Alternate versions of Gabriel's third and fourth albums were also released with German lyrics. Peter Gabriel 3 consisted of basically the same recording overdubbed with new vocals, while Security was also remixed and several tracks were extended or altered in slight ways.

Gabriel toured extensively for each of his albums. Initially, he pointedly eschewed the theatrics that had defined his tenure with Genesis. For his second solo tour, his entire band shaved their heads. By the time of Security he began involving elaborate stage props and acrobatics which had him suspended from gantries, distorting his face with Fresnel lenses and mirrors, and wearing unusual make-up. His 1982–83 tour included a section opening for David Bowie. Recordings of this tour were released as the double LP Plays Live.

The stage was set for Gabriel's critical and commercial breakout with his next studio release, which was in production for almost three years. During the recording and production of the album he also found time to develop the film soundtrack for Alan Parker's 1984 feature Birdy, which consisted of new material as well as remixed instrumental tracks from his previous studio album.

[edit] So, Passion and Us (1986–1994)

	"Don't Give Up" noicon A 1986 duet with Kate Bush, "Don't Give Up" tells of the despair of a man who feels defeated by the economic system, and the support and wise counsel sung in the refrain.
Problems listening to this file? See media help.

Gabriel achieved his greatest popularity with songs from the 1986 album So.^[11] The album charted at number 1 in the UK Album Chart, and number 2 on the Billboard 200 in the US.^[12][13] It is certified triple platinum in the UK, and five times platinum in the US.^[14][15] The album produced three UK Top 20 hits, "Sledgehammer", "Big Time", and "Don't Give Up" — a duet with Kate Bush.^[12] The album also produced three Top 40 hits in the U.S., "Sledgehammer", "In Your Eyes" (featured in the John Cusack film Say Anything), and "Big Time".^[13] "Sledgehammer", peaked at #1 in the U.S., knocking Genesis' "Invisible Touch" off the top spot, and #4 in the UK.^[13] The ballad "Don't Give Up" was about the devastation of unemployment. Gabriel co-produced So with Daniel Lanois, also known for his work with U2 and Brian Eno.^[16] In 1990, Rolling Stone ranked So number #14 on its list of "Top 100 Albums of the Eighties".^[17]

Gabriel's song "Sledgehammer", which dealt specifically with the themes of sex and sexual relations, was accompanied by a much-lauded music video, which was a collaboration with director Stephen R. Johnson, Aardman Animations, and the Brothers Quay.^[2] The video set a new standard for art in the music video industry, and won nine MTV Video Music Awards in 1987, a record which still stands as of 2011.^[2] "Sledgehammer" is the most played music video in the history of MTV, and in 1998 it was named the station's number one animated video of all time.^[2][18] A follow-up video for the song "Big Time" also broke new ground in music video animation and special effects. The song is a story of "what happens to you when you become a little too successful", in Gabriel's words. The success of the album earned Peter Gabriel two awards at the Brit Awards in 1987: Best British Male Solo Artist and Best British Video for "Sledgehammer".^[4] Gabriel was also nominated for three Grammy Awards: Best Male Rock Vocal Performance, Song of the Year, and Record of the Year.^[19]

In 1989, Gabriel released Passion, the soundtrack for Martin Scorsese's movie The Last Temptation of Christ. For this work he received his first Grammy Award, in the category of Best New Age Performance. He also received a Golden Globe nomination for Best Original Score - Motion Picture.

Following this, Gabriel released Us in 1992 (also co-produced with Daniel Lanois), an album in which he explored the pain of recent personal problems; his failed first marriage, and the growing distance between him and his first daughter.

Gabriel's introspection within the context of the album Us can be seen in the first single release "Digging in the Dirt" directed by John Downer. Accompanied by a disturbing video featuring Gabriel covered in snails and various foliage, this song made reference to the psychotherapy which had taken up much of Gabriel's time since the previous album. Gabriel describes his struggle to get through to his daughter in "Come Talk To Me" directed by Matt Mahurin, which featured backing vocals by Sinéad O'Connor. O'Connor also lent vocals to "Blood of Eden", directed by Nichola Bruce and Michael Coulson, the third single to be released from the album, and once again dealing with relationship struggles, this time going right back to Adam's rib for inspiration. The result was one of Gabriel's most personal albums. It met with less success than So, reaching #2 in the album chart on both sides of the Atlantic, and making modest chart impact with the singles "Digging in the Dirt" and the funkier "Steam", which evoked memories of "Sledgehammer". Gabriel followed the release of the album with a world tour (with Paula Cole or Joy Askew filling O'Connor's vocal role) and accompanying double CD and DVD Secret World Live in 1994.

Gabriel employed an innovative approach in the marketing of the Us album. Not wishing to feature only images of himself, he asked artist filmmakers Nichola Bruce and Michael Coulson to coordinate a marketing campaign using contemporary artists. Artists such as Helen Chadwick, Rebecca Horn, Nils Udo, Andy Goldsworthy, David Mach and Yayoi Kusama collaborated to create original artworks for each of the 11 songs on the multi-million-selling CD. Coulson and Bruce documented the process on Hi-8 video. Bruce left Real World and Coulson continued with the campaign, using the documentary background material as the basis for a promotional EPK, the long-form video All About Us and the interactive CD-ROM Xplora1.

Gabriel won three more Grammy Awards, all in the Music Video category. He won the Grammy Award for Best Short Form Music Video in 1993 and 1994 for the videos to "Digging in the Dirt" and "Steam" respectively. Gabriel also won the 1996 Grammy Award for Best Long Form Music Video for his Secret World Live video.

[edit] OVO, Up, Scratch My Back and New Blood (1995–present)

After five years of not releasing any new music, Gabriel re-emerged with OVO, a soundtrack for the live Millennium Dome Show in London in 2000, and Long Walk Home, the music from the Australian movie Rabbit-Proof Fence, early in 2002. This soundtrack also received a Golden Globe nomination for Best Original Score – Motion Picture.

In September 2002, Gabriel released Up, his first full-length studio album in a decade. Entirely self-produced, Up returned to some of the themes of his work in the late 1970s and early 1980s. Three singles failed to make an impression on the charts—in part because almost every track exceeded six minutes in length, with multiple sections—but the album sold well globally, as Gabriel continued to draw from a loyal fan base from his almost forty years in the music business. Up was followed by a world tour featuring his daughter Melanie Gabriel on backing vocals, and two concert DVDs, Growing Up Live (2003) and Still Growing Up: Live & Unwrapped (2004).

In 2008, Gabriel contributed to the WALL-E soundtrack several new songs with Thomas Newman, including the film's closing song, "Down to Earth", for which they received the Grammy Award for Best Song Written for a Motion Picture, Television or Other Visual Media. The song was also nominated for the Golden Globe for Best Original Song - Motion Picture and the Academy Award for Best Original Song.

In 2010, Gabriel released Scratch My Back. The album is made up entirely of cover songs including material written by David Bowie, Lou Reed, Arcade Fire, Radiohead, Regina Spektor, Neil Young, and more. The concept for the record is that Gabriel covers songs by various artists and those artists in turn will cover Gabriel songs to be released on a future follow-up album called I'll Scratch Yours. Scratch My Back features only orchestral instrumentation; there are no guitars, drums, or electronic elements that are usual attributes of Gabriel records. A very brief tour followed the album's release where Gabriel performed with a full orchestra and two female backup singers, his daughter Melanie Gabriel and Norwegian singer-songwriter Ane Brun.

On 11 October 2011, Gabriel released New Blood, a collection of his earlier songs recorded with an orchestra. A special edition of the album features solely instrumental versions of some of the songs.

In Fall 2012, Gabriel will embark on the Back to Front Tour in which he will perform the entire So album to celebrate its 25th anniversary.^[20]

Musicians and collaborators[link]

Gabriel has worked with a relatively stable crew of musicians and recording engineers throughout his solo career. Bass and Stick player Tony Levin, for example, has appeared on every Gabriel studio album (except Scratch My Back and the soundtracks Passion and Long Walk Home) and has performed on every Gabriel solo tour (except The New Blood Tour). Guitar player David Rhodes has been Gabriel’s guitarist of choice since 1979. Prior to So, Jerry Marotta was Gabriel's preferred drummer, both in the studio and on the road. (For the So and Us albums and tours Marotta was replaced by Manu Katché, who was then replaced by Ged Lynch on parts of the Up album and all of the subsequent tour). Gabriel is known for choosing top-flight collaborators, from co-producers such as Ezrin, Fripp, Lillywhite, and Lanois to musicians such as Natalie Merchant, Elizabeth Fraser, L. Shankar, Trent Reznor, Youssou N'Dour, Larry Fast, Nusrat Fateh Ali Khan, Sinéad O'Connor, Kate Bush, Ane Brun, Paula Cole, John Giblin, Peter Hammill, Papa Wemba, Manu Katché, Bayete, Phil Collins (as drummer), and Stewart Copeland.

Over the years, Gabriel has collaborated with singer Kate Bush several times; Bush provided backing vocals for Gabriel's "Games Without Frontiers" and "No Self Control" in 1980, and female lead vocal for "Don't Give Up" (a Top 10 hit in the UK) in 1986, and Gabriel appeared on her television special. Their duet of Roy Harper's "Another Day" was discussed for release as a single, but never appeared.

He also collaborated with Laurie Anderson on two versions of her composition "Excellent Birds" – one for her 1984 album Mister Heartbreak, and a slightly different version called "This is the Picture (Excellent Birds)", which appeared on cassette and CD versions of So. In 1987, when presenting Gabriel with an award for his music videos, Anderson related an occasion in which a recording session had gone late into the night and Gabriel's voice had begun to sound somewhat strange, almost dreamlike. It was discovered that he had fallen asleep in front of the microphone, but had continued to sing.

Gabriel sang (along with Jim Kerr of Simple Minds) on "Everywhere I Go", from The Call's 1986 release, Reconciled. On Toni Childs' 1994 CD, The Woman's Boat, Gabriel sang on the track, "I Met a Man".

In 1998, Gabriel appeared on the soundtrack of Babe: Pig in the City, not as a composer, but as the singer of the song "That'll Do", written by Randy Newman. The song was nominated for an Academy Award, and Gabriel and Newman performed it at the following year's Oscar telecast. He performed a similar soundtrack appearance for the 2004 film Shall We Dance?, singing a cover version of "The Book of Love" by The Magnetic Fields.

Gabriel has also appeared on Robbie Robertson's self-titled album, singing on "Fallen Angel"; co-written two Tom Robinson singles; and appeared on Joni Mitchell's 1988 album Chalk Mark in a Rainstorm, on the track "My Secret Place".

In 2001, Gabriel contributed lead vocals to the song "When You're Falling" on Afro Celt Sound System's Volume 3: Further in Time.^[21] In the summer of 2003, Gabriel performed in Ohio with a guest performance by Uzbek singer Sevara Nazarkhan.

Gabriel collaborated on tracks with electronic musician BT. The tracks were never released, as the computers they were contained on were stolen from BT's home in California. He also sang the lyrics for Deep Forest on their theme song for the movie Strange Days. In addition, Gabriel has appeared on Angelique Kidjo's 2007 album Djin Djin, singing on the song "Salala".

Gabriel has recorded a cover of the Vampire Weekend single "Cape Cod Kwassa Kwassa" with Hot Chip, where his name is mentioned several times in the chorus. He substitutes the original line "But this feels so unnatural / Peter Gabriel too / This feels so unnatural/ Peter Gabriel too" with "It feels so unnatural / Peter Gabriel too / and it feels so unnatural / to sing your own name."

WOMAD and other projects[link]

Gabriel has been interested in world music for many years, with the first musical evidence appearing on his third album. This influence has increased over time, and he is the driving force behind the World of Music, Arts and Dance (WOMAD) movement. He created the Real World Studios and record label to facilitate the creation and distribution of such music by various artists, and he has worked to educate Western culture about the work of such musicians as Yungchen Lhamo, Nusrat Fateh Ali Khan and Youssou N'dour. He has a long-standing interest in human rights, and launched Witness,^[22] a nonprofit which trains human rights activists to use video and online technologies to expose human rights abuses. In 2006 his work with WITNESS and his long standing support of peace and human rights causes was recognised by the Nobel Peace Prize Laureates with the Man of Peace award.

In the 1990s, with Steve Nelson of Brilliant Media and director Michael Coulson, he developed advanced multimedia CD-ROM-based entertainment projects, creating the acclaimed Xplora (the world's largest selling music CD-ROM), and subsequently the EVE CD-ROM. EVE was a music and art adventure game directed by Michael Coulson and co-produced by the Starwave Corporation in Seattle; it won the prestigious Milia d'Or award Grand Prize at the Cannes in 1996 and featured themes and interactivity well in advance of its time. Xplora and EVE can no longer be played on modern PCs, due to changes to their operating systems.

In 1994, Gabriel starred in the Breck Eisner short film "Recon" as a detective who enters the minds of murder victims to find their killer's identity.

Gabriel helped pioneer a new realm of musical interaction in 2001, visiting Georgia State University's Language Research Center to participate in keyboard jam sessions with bonobo apes from the Democratic Republic of the Congo. (This experience inspired the song "Animal Nation," which was performed on Gabriel's 2002 "Growing Up" tour and was featured on the Growing Up Live DVD and The Wild Thornberrys Movie soundtrack.) Gabriel's desire to bring attention to the intelligence of primates also took the form of ApeNet, a project that aimed to link great apes through the internet, enabling the first interspecies internet communication.^[23]

He was one of the founders of On Demand Distribution (OD2), one of the first online music download services. Its technology is used by MSN Music UK and others, and has become the dominant music download technology platform for stores in Europe. OD2 was bought by US company Loudeye in June 2004 and subsequently by Finnish mobile giant Nokia in October 2006 for $60 million.

Additionally, Gabriel is also co-founder (with Brian Eno) of a musicians union called Mudda, short for "magnificent union of digitally downloading artists."

In 2000, Peter Gabriel collaborated with Zucchero, Anggun and others in charity for kids with AIDS. Erick Benzi have write words and music and Patrick Bruel, Stephan Eicher, Faudel, Lokua Kanza, Laam, Nourith, Axelle Red have accept to sing it.

In 2003, Gabriel's song "Burn You Up, Burn You Down" was featured in Cyan Worlds' video game Uru: Ages Beyond Myst. In 2004, Gabriel contributed another song ("Curtains") and contributed voice work on another game in the Myst franchise, Myst IV: Revelation.

During the latter part of 2004, Gabriel spent time in a village in eastern Nepal with musician Ram Sharan Nepali, learning esoteric vocal techniques. Gabriel subsequently invited Nepali to attend and perform at the Womad festival in Adelaide, Australia.

In June 2005, Gabriel and broadcast industry entrepreneur David Engelke purchased Solid State Logic, a leading manufacturer of mixing consoles and digital audio workstations.^[24] SSL is among the top 2 or 3 recording console manufacturers in the world of recording.

In May 2008, Gabriel's Real World Studios, in partnership with Bowers & Wilkins, started the Bowers & Wilkins Music Club - now known as Society of Sound - a subscription-based music retail site. Albums are currently available in either Apple Lossless or Flac format.^[25]

Activist for humanitarian causes[link]

In 1986 he started what has become a longstanding association with Amnesty International, becoming a pioneering participant in all 28 of Amnesty's Human Rights Concerts — a series of music events and tours staged by the US Section of Amnesty International between 1986-1998. He performed during the six-concert A Conspiracy of Hope US tour in June 1986; the twenty-concert Human Rights Now! world tour in 1988; the Chile: Embrace Of Hope Concert in 1990 and at The Paris Concert For Amnesty International in 1998. He also performed in Amnesty's Secret Policeman's Ball benefit shows.^[26] He spoke of his support for Amnesty on NBC's Today Show in 1986.^[27]

Inspired by the social activism he encountered in his work with Amnesty, in 1992 Gabriel co-founded WITNESS, a non-profit group that equips, trains and supports locally-based organizations worldwide to use video and the internet in human rights documentation and advocacy.

In 1995, Gabriel and Cape Verdean human rights activist Vera Duarte were awarded the North-South Prize in its inaugural year.^[28][29]

Peter Gabriel at WITNESS Gala 2007

In the late 1990s, Gabriel and entrepreneur Richard Branson discussed with Nelson Mandela their idea of a small, dedicated group of leaders, working objectively and without any vested personal interest to solve difficult global conflicts.

On 18 July 2007, in Johannesburg, South Africa, Nelson Mandela announced the formation of a new group, Global Elders, in a speech he delivered on the occasion of his 89th birthday. The present members of this group are Desmond Tutu, Graça Machel, Kofi Annan, Ela Bhatt, Lakhdar Brahimi, Gro Harlem Brundtland, Fernando Henrique Cardoso, Jimmy Carter, Mary Robinson, Muhammad Yunus, and Aung San Suu Kyi (with an empty chair for her).^[30]

The Elders will be independently funded by a group of "Founders", including Branson and Gabriel.

Desmond Tutu serves as the chair of the Elders, who will use their collective skills to catalyse peaceful resolutions to long-standing conflicts, articulate new approaches to global issues that are causing or may later cause immense human suffering, and share wisdom by helping to connect voices all over the world. They will work together over the next several months to consider carefully which specific issues they will confront.

In November 2007 Gabriel's non-profit group WITNESS launched The Hub, a participatory media site for human rights.

In September 2008 Gabriel was named as the recipient of Amnesty International’s 2008 Ambassador of Conscience Award. In the same month, he received Quadriga United We Care award of Werkstatt Deutschland along with Boris Tadić, Eckart Höfling and Wikipedia. The award was presented to him by Queen Silvia of Sweden.^[31]

Gabriel lent his support to the campaign to release Sakineh Mohammadi Ashtiani, an Iranian woman sentenced to death by stoning after being convicted of committing adultery.^[32]

Politics[link]

At the 1997 general election, Gabriel declared his support for the Labour Party, which won that election by a landslide after 18 years out of power, led by Tony Blair.^[33]

In 1998, Gabriel was named in a list of the biggest private financial donors to Labour.^[34] In 2003, he revealed he had voted for Labour and admired what they had done for health and education but distanced himself from the Labour government over Tony Blair’s support for George W. Bush and Britain’s involvement in the Iraq War, which he strongly opposed, although he continued to believe Blair was a man of conscience.^[35] Quoted in The Mirror newspaper, he said:

This is a fundamental issue of life and death and I very much think the Prime Minister is in the wrong. I'm also sure George W. Bush is an affable bloke but he's highly dangerous and I wish America was in the hands of someone else. To put oil interests ahead of human life is appalling. War is always terrible but unjustified war is obscene and on present evidence that is what we are facing. People want peace and I think it's great that the Mirror is leading this campaign. I think the consequences of this war would be the biggest threat to world peace in my lifetime...There is a slogan which says: 'Peace is what happens when you respect the rights of others'. Iraqis have rights too.^[36]

In 2005, Gabriel gave a Green Party of England and Wales general election candidate special permission to record a cover of his song "Don't Give Up" for his campaign.^[37]

In 2010, The Guardian described Gabriel as "a staunch advocate of proportional representation".^[38]

In 2012, Gabriel condemned the use of his music by American talk radio personality Rush Limbaugh during a controversial segment in which Limbaugh vilified Georgetown University law student Sandra Fluke. A statement on behalf of Gabriel read: "Peter was appalled to learn that his music was linked to Rush Limbaugh's extraordinary attack on Sandra Fluke. It is obvious from anyone that knows Peter's work that he would never approve such a use. He has asked his representatives to make sure his music is withdrawn and especially from these unfair, aggressive and ignorant comments."^[39]

Personal life[link]

Gabriel has two daughters with his first wife Jill Moore: Anna-Marie (born 26 July 1974) and Melanie Gabriel (born 23 August 1976). Married on 17 March 1971, they divorced in 1987. Moore's father was Lord Moore of Wolvercote.

Anna-Marie is a filmmaker and Melanie is a musician. Anna-Marie filmed and directed the Growing Up On Tour: A Family Portrait and Still Growing Up: Live & Unwrapped DVDs. Melanie has been a backing vocalist in her father's band since 2002.

In the late 1980s and early 1990s, Gabriel lived with actress Rosanna Arquette but they never married.

Gabriel also has two sons with Meabh Flynn: Isaac Ralph (born 27 September 2001) and Luc (born 5 July 2008). Gabriel and Flynn have been married since 9 June 2002.

Gabriel has resided for many years in the county of Wiltshire in England, where he also runs his Real World Studios. He previously lived in the Woolley Valley near Bath, Somerset. In 2010 he joined a campaign to stop an agricultural development at the valley, which had also inspired his first solo single "Solsbury Hill" in 1977.^[40]

Appearances: 2005–present[link]

Gabriel actively coordinated and performed at the Eden Project Live 8 concert in July 2005. In his earliest days, Gabriel played flute on Cat Stevens's first album on the Island records label, Mona Bone Jakon as a "nervous session musician". Stevens, now known as Yusuf Islam, joined him on stage 33 years after that experience, in Johannesburg during Nelson Mandela's 46664 concert. The two performed the Stevens hit "Wild World".

A double DVD set, Still Growing Up: Live & Unwrapped, was released in October 2005.

FIFA asked Gabriel and Brian Eno to organise an opening ceremony for the 2006 FIFA World Cup finals in Germany, planned to take place a couple of days before the start of the tournament; however, the show was cancelled in January 2006 by FIFA.

Rumours of a possible reunion of the original Genesis line-up began circulating in 2004 after Phil Collins stated in an interview that he was open to the idea of sitting back behind the drums and "let Peter be the singer." The classic line-up has only reformed for a live performance once before, in 1982. However, the group did work together to create a new version of the 1974 song "The Carpet Crawlers", ultimately released on the Turn It On Again: The Hits album as "The Carpet Crawlers 1999". Gabriel later met with other Genesis band members, to discuss a possible reunion tour of The Lamb Lies Down on Broadway. He chose to opt out of a reunion tour, and his former bandmates, Collins, Banks, and Rutherford chose to tour as Genesis without him.

At the opening ceremonies of the Winter Olympics in Turin, Italy, Gabriel performed John Lennon's "Imagine" during the opening of the festivities on 10 February 2006.

In October 2006, Gabriel was given the first Pioneer Award at the BT Digital Music Awards, an award presented in recognition of his "profound and lasting influence on the development of digital music."

In November 2006, the Seventh World Summit of Nobel Peace Laureates in Rome presented Gabriel with the Man of Peace award. The award, presented by former President of the USSR and Nobel Peace Prize winner Mikhail Gorbachev and Walter Veltroni, Mayor of Rome, was an acknowledgement of Gabriel's extensive contribution and work on behalf of human rights and peace. The award was presented in the Giulio Cesare Hall of the Campidoglio in Rome. At the end of the year, he was awarded the Q magazine Lifetime Achievement Award, presented to him by American musician Moby. In an interview published in the magazine to accompany the award, Gabriel's contribution to music was described as "vast and enduring."

Gabriel took on a project with the BBC World Service's competition "The Next Big Thing" to find the world's best young band. Gabriel is judging the final six young artists with William Orbit, Geoff Travis and Angélique Kidjo.

The Times reported on 21 January 2007, that Peter Gabriel had announced that he planned to release his next album in the U.S. without the aid of a record company. Gabriel, an early pioneer of digital music distribution, had raised £2 million towards recording and 'shipping' his next album, Big Blue Ball in a venture with investment boutique Ingenious Media. Gabriel is expected to earn double the money that he would through a conventional record deal. Commercial director Duncan Reid of Ingenious explains the business savvy of the deal, saying, "If you're paying a small distribution fee and covering your own marketing costs, you enjoy the lion's share of the proceeds of the album. Gabriel is expected to outsource CD production for worldwide release through Warner Bros. Records. The new album deal covers the North America territory, where Gabriel is currently out of contract.^[41]

The album Big Blue Ball was launched in America thanks to a venture capital trust initiative. Bosses at London-based firm Ingenious raised more than $4 million (GBP 2 million) to help promote the release in the United States. The venture capitalists, Gabriel and his Real World Limited partners, have created a new joint venture company, High Level Recordings Limited, to oversee the release of the album, which took place in 2008. Gabriel appeared on a nationwide tour for the album in 2009.^[42]

On 24 May 2007, he was honoured with the Ivor Novello Award for lifetime achievement.^[43]

Gabriel was a judge for the 6th and 8th annual Independent Music Awards to support independent artists.^[44]

In February 2009, Gabriel announced that he would not be performing on the 2008 Academy Awards telecast because producers of the show were limiting his performance of "Down to Earth" from WALL-E to 65 seconds. John Legend and the Soweto Gospel Choir performed the song in his stead.

Gabriel's 2009 tour of Mexico and South America included visiting Mexico, Argentina, Chile, Peru, and Venezuela. His first ever performance in Peru was held in Lima on 20 March 2009, during his second visit to the country. His concert in Mexico City, on 27 March 2009, attracted more than 38,000 fans.

On 25 July 2009, he played at WOMAD Charlton Park, his only European performance of the year, to promote Witness. The show included two tracks from the then-forthcoming Scratch My Back: Paul Simon's "The Boy in the Bubble" and The Magnetic Fields' "The Book of Love".^[45]

On 5 October 2011 at the Royal Festival Hall, London Gabriel appeared at the end of an interview of President Carter by Channel 4 News presenter, Jon Snow, to lead the 2,500-strong audience in a rendition of happy birthday to mark the President turning 87.

On 9 November 2011 he appeared and performed on CBS's Late Show with David Letterman.

Discography[link]

• Peter Gabriel 1 (Car) (1977)
• Peter Gabriel 2 (Scratch) (1978)
• Peter Gabriel 3 (Melt) (1980)
• Ein deutsches Album (1980)
• Peter Gabriel 4 (Security) (1982)
• Deutsches Album (1982)
• Birdy (1985)
• So (1986)
• Passion (1989)
• Us (1992)
• OVO (2000)
• Long Walk Home (2002)
• Up (2002)
• Scratch My Back (2010)
• New Blood (2011)

See also[link]

• List of best selling music artists
• List of artists who reached number one on the Hot 100 (U.S.)
• List of artists who reached number one on the U.S. Dance chart
• List of artists who reached number one on the U.S. Mainstream Rock chart

References[link]