The h-index is an index that attempts to measure both the productivity and impact of the published work of a scientist or scholar. The index is based on the set of the scientist's most cited papers and the number of citations that they have received in other publications. The index can also be applied to the productivity and impact of a group of scientists, such as a department or university or country. The index was suggested by Jorge E. Hirsch, a physicist at UCSD, as a tool for determining theoretical physicists' relative quality^[1] and is sometimes called the Hirsch index or Hirsch number.

Definition and purpose[link]

H-index from a plot of decreasing citations for numbered papers

The index is based on the distribution of citations received by a given researcher's publications. Hirsch writes:

A scientist has index h if h of his/her N_p papers have at least h citations each, and the other (N_p − h) papers have no more than h citations each.

In other words, a scholar with an index of h has published h papers each of which has been cited in other papers at least h times.^[2] Thus, the h-index reflects both the number of publications and the number of citations per publication. The index is designed to improve upon simpler measures such as the total number of citations or publications. The index works properly only for comparing scientists working in the same field; citation conventions differ widely among different fields.

The h-index serves as an alternative to more traditional journal impact factor metrics in the evaluation of the impact of the work of a particular researcher. Because only the most highly cited articles contribute to the h-index, its determination is a relatively simpler process. Hirsch has demonstrated that h has high predictive value for whether a scientist has won honors like National Academy membership or the Nobel Prize. In physics, a moderately productive scientist should have an h equal to the number of years of service^{[citation needed]} while biomedical scientists tend to have higher values. The h-index grows as citations accumulate and thus it depends on the 'academic age' of a researcher.

Hirsch suggested (with large error bars) that, for physicists, a value for h of about 12 might be typical for advancement to tenure (associate professor) at major research universities. A value of about 18 could mean a full professorship, 15–20 could mean a fellowship in the American Physical Society, and 45 or higher could mean membership in the United States National Academy of Sciences.^[3] Little systematic investigation has been made on how academic recognition correlates with h-index over different institutions, nations and fields of study.

Among the 22 scientific disciplines listed in the Thomson Reuters Essential Science Indicators Citation Thresholds, physics has the second most citations after space science.^[4] During the period January 1, 2000-February 28, 2010, a physicist had to receive 2073 citations to be among the most cited 1% of physicists in the world.^[4] The threshold for Space Science is the highest (2236 citations), and Physics is followed by Clinical Medicine (1390) and Molecular Biology & Genetics (1229). Most disciplines, such as Environment/Ecology (390), have fewer scientists, fewer papers, and fewer citations.^[4] Therefore, these disciplines have lower citation thresholds in the Essential Science Indicators, with the lowest citation thresholds observed in Social Sciences (154), Computer Science (149), and Multidisciplinary Sciences (147).^[4]

Calculation[link]

The h-index can be manually determined using citation databases or using automatic tools. Subscription-based databases such as Scopus and the Web of Knowledge provide automated calculators. Harzing's Publish or Perish program calculates the h-index based on Google Scholar entries. In July 2011 Google trialled a tool which allows a limited number of scholars to keep track of their own citations and also produces a h-index and an i10-index. Each database is likely to produce a different h for the same scholar, because of different coverage: Google Scholar has more citations than Scopus and Web of Science but the smaller citation collections tend to be more accurate. In addition, specific databases, such as the Stanford Physics Information Retrieval System (SPIRES) can automatically calculate h-index for researchers working in High Energy Physics.

The topic has been studied in detail by Lokman I. Meho and Kiduk Yang.^[5][6] Web of Knowledge was found to have strong coverage of journal publications, but poor coverage of high impact conferences. Scopus has better coverage of conferences, but poor coverage of publications prior to 1996; Google Scholar has the best coverage of conferences and most journals (though not all), but like Scopus has limited coverage of pre-1990 publications.^[6] The exclusion of conference preprints is a problem for scholars in computer science, where conference preprints are considered an important part of the literature, but reflects common practice in most scientific fields where conference preprints are unrefereed and are accorded less weight in evaluating academic productivity. The Scopus and Web of Knowledge calculations also fail to count the citations that a publication gathers while 'in press' (i.e. after being accepted for publication but before being printed on paper);^{[citation needed][dubious – discuss]} with electronic pre-publication and very long printing lags for some journals, these 'in press' citations can be considerable. Google Scholar has been criticized for producing "phantom citations," including gray literature in its citation counts, and failing to follow the rules of Boolean logic when combining search terms.^[7] For example, the Meho and Yang study found that Google Scholar identified 53% more citations than Web of Knowledge and Scopus combined, but noted that because most of the additional citations reported by Google Scholar were from low-impact journals or conference proceedings, they did not significantly alter the relative ranking of the individuals. It has been suggested that in order to deal with the sometimes wide variation in h for a single academic measured across the possible citation databases, that one should assume false negatives in the databases are more problematic than false positives and take the maximum h measured for an academic.^[8]

Advantages[link]

Hirsch intended the h-index to address the main disadvantages of other bibliometric indicators, such as total number of papers or total number of citations. Total number of papers does not account for the quality of scientific publications, while total number of citations can be disproportionately affected by participation in a single publication of major influence (for instance, methodological papers proposing successful new techniques, methods or approximations, which can generate a large number of citations), or having many publications with few citations each. The h-index is intended to measure simultaneously the quality and quantity of scientific output.

Criticism[link]

There are a number of situations in which h may provide misleading information about a scientist's output:^[9] (However, most of these are not exclusive to the h-index.)

• The h-index does not account for the number of authors of a paper. In the original paper, Hirsch suggested partitioning citations among co-authors. Even in the absence of explicit gaming, the h-index and similar indexes tend to favor fields with larger groups, e.g. experimental over theoretical.
• The h-index does not account for the typical number of citations in different fields. Different fields, or journals, traditionally use different numbers of citations.
• The h-index discards the information contained in author placement in the authors' list, which in some scientific fields (but not in high energy physics, where Hirsch works) is significant.^[10][11]
• The h-index is bounded by the total number of publications. This means that scientists with a short career are at an inherent disadvantage, regardless of the importance of their discoveries. For example, Évariste Galois' h-index is 2, and will remain so forever. Had Albert Einstein died after publishing his four groundbreaking Annus Mirabilis papers in 1905, his h-index would be stuck at 4 or 5. This is also a problem for any measure that relies on the number of publications. However, as Hirsch indicated in the original paper, the index is intended as a tool to evaluate researchers in the same stage of their careers. It is not meant as a tool for historical comparisons.
• The h-index does not consider the context of citations. For example, citations in a paper are often made simply to flesh out an introduction, otherwise having no other significance to the work. h also does not resolve other contextual instances: citations made in a negative context and citations made to fraudulent or retracted work. This is also a problem for regular citation counts.
• The h-index gives books the same count as articles making it difficult to compare scholars in fields that are more book-oriented such as the humanities.
• The h-index does not account for confounding factors such as "gratuitous authorship", the so-called Matthew effect, and the favorable citation bias associated with review articles. Again, this is a problem for all other metrics using publications or citations.
• The h-index has been found to have slightly less predictive accuracy and precision than the simpler measure of mean citations per paper.^[12] However, this finding was contradicted by another study.^[13]
• The h-index is a natural number which reduces its discriminatory power. Ruane and Tol therefore propose a rational h-index that interpolates between h and h + 1.^[14]
• The h-index can be manipulated through self-citations,^[15] and if based on Google Scholar output, then even computer-generated documents can be used for that purpose, e.g. using SCIgen.^[16]

Alternatives and modifications[link]

Various proposals to modify the h-index in order to emphasize different features have been made:^{[17][18][19][20][21][22]}. As the variants have proliferated, comparative studies have become possible and they demonstrate that most proposals do not differ significantly from the original h-index as they remain highly correlated with it^[23].

• An individual h-index normalized by the average number of co-authors in the h-core has been introduced by Batista et al.^[17] They also found that the distribution of the h-index, although it depends on the field, can be normalized by a simple rescaling factor. For example, assuming as standard the hs for biology, the distribution of h for mathematics collapse with it if this h is multiplied by three, that is, a mathematician with h = 3 is equivalent to a biologist with h = 9. This method has not been readily adopted, perhaps because of its complexity. It might be simpler to divide citation counts by the number of authors before ordering the papers and obtaining the h-index, as originally suggested by Hirsch.
• The m-index is defined as h/n, where n is the number of years since the first published paper of the scientist;^[1] also called m-quotient.^[24][25]
• A generalization of the h-index and some other indices that gives additional information about the shape of the author's citation function (heavy-tailed, flat/peaked, etc.) was proposed by Gągolewski and Grzegorzewski.^[26]
• Successive Hirsch-type-index introduced independently by Kosmulski^[27] and Prathap.^[28] A scientific institution has a successive Hirsch-type-index of i when at least i researchers from that institution have an h-index of at least i.
• Bornmann, Mutz, and Daniel recently proposed three additional metrics, h² lower, h² center, and h² upper, to give a more accurate representation of the distribution shape. The three h² metrics measure the relative area within a scientist's citation distribution in the low impact area, h² lower, the area captured by the h-index, h² center, and the area from publications with the highest visibility, h² upper. Scientists with high h² upper percentages are perfectionists, whereas scientists with high h² lower percentages are mass producers. As these metrics are percentages, they are intended to give a qualitative description to supplement the quantitative h-index. ^[29]
• The g-index proposed by Egghe ^[30] can be seen as the h-index for an averaged citations count.
• K. Dixit and colleagues argue that "For an individual researcher, a measure such as Erdős number captures the structural properties of network whereas the h-index captures the citation impact of the publications. One can be easily convinced that ranking in coauthorship networks should take into account both measures to generate a realistic and acceptable ranking." Several author ranking systems such as eigenfactor (based on eigenvector centrality) have been proposed already, for instance the Phys Author Rank Algorithm.^[31]
• The c-index accounts not only for the citations but for the quality of the citations in terms of the collaboration distance between citing and cited authors. A scientist has c-index n if n of [his/her] N citations are from authors which are at collaboration distance at least n, and the other (N − n) citations are from authors which are at collaboration distance at most n. ^[32]
• An s-index, accounting for the non-entropic distribution of citations, has been proposed and it has been shown to be in a very good correlation with h^[33]

See also[link]

• Bibliometrics
• impact factor
• g-index
• h-b index
• Eddington number (cycling) An earlier metric of the same form.
• Durfee square, a quantity defined in the same way for integer partitions

References[link]

Further reading[link]

• A. M. Petersen, H. E. Stanley, and S. Succi (2011). "Statistical Regularities in the Rank-Citation Profile of Scientists". Nature Scientific Reports 181: 1–7. http://polymer.bu.edu/hes/articles/pss11b.pdf. 
• Alonso, S.; Cabrerizo, F. J.; Herrera-Viedma, E.; Herrera, F. (2009). "h-index: A Review Focused in its Variants, Computation and Standardization for Different Scientific Fields". Journal of Informetrics 3 (4): 273–289. DOI:10.1016/j.joi.2009.04.001. 
• Ball, Philip (2005). "Index aims for fair ranking of scientists". Nature 436 (7053): 900. Bibcode 2005Natur.436..900B. DOI:10.1038/436900a. PMID 16107806. 
• Kelly, C. D.; Jennions, M. D. (2006). "The h index and career assessment by numbers". Trends Ecol. Evol. (Amst.) 21 (4): 167–70. DOI:10.1016/j.tree.2006.01.005. PMID 16701079. 
• Lehmann, S.; Jackson, A. D.; Lautrup, B. E. (2006). "Measures for measures". Nature 444 (7122): 1003–4. Bibcode 2006Natur.444.1003L. DOI:10.1038/4441003a. PMID 17183295. 
• Sidiropoulos, Antonis; Katsaros, Dimitrios; Manolopoulos, Yannis (2007). "Generalized Hirsch h-index for disclosing latent facts in citation networks". Scientometrics 72 (2): 253–280. DOI:10.1007/s11192-007-1722-z. 
• Soler, José M. (2007). "A rational indicator of scientific creativity". Journal of Informetrics 1 (2): 123–130. DOI:10.1016/j.joi.2006.10.004. 
• Symonds, M. R. et al. (2006). Tregenza, Tom. ed. "Gender differences in publication output: towards an unbiased metric of research performance". PLoS ONE 1: e127. Bibcode 2006PLoSO...1..127S. DOI:10.1371/journal.pone.0000127. PMC 1762413. PMID 17205131. //www.pubmedcentral.nih.gov/articlerender.fcgi?tool=pmcentrez&artid=1762413. 
• Taber, Douglass F. (2005). "Quantifying Publication Impact". Science 309 (5744): 2166a. DOI:10.1126/science.309.5744.2166a. PMID 16195445. 
• Woeginger, Gerhard j. (2008). "An axiomatic characterization of the Hirsch-index". Mathematical Social Sciences 56 (2): 224–232. DOI:10.1016/j.mathsocsci.2008.03.001. 

External links[link]

Lists of h-indices[link]

• The H-index for economists.
• The H-index for computer science

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Steven Wilson
Steven Wilson onstage with Blackfield, Bowery Ballroom, NYC, March 2007.
Background information
Birth name	Steven John Wilson
Born	(1967-11-03) 3 November 1967 (age 44) Kingston upon Thames, England
Genres	Progressive rock, progressive metal, psychedelic rock, art rock, ambient, krautrock, alternative rock, post-punk, jazz fusion, experimental rock.
Occupations	Musician, songwriter, producer
Instruments	Vocals, guitars, bass, piano, keyboards, mellotron, hammer dulcimer, flute, banjo, sampler, organ, harp, programming
Years active	1983–present
Associated acts	Porcupine Tree, Blackfield, No-Man, Incredible Expanding Mindfuck, Bass Communion, Opeth, Continuum, Storm Corrosion
Website	Steven Wilson Headquarters

Steven John Wilson (born 3 November 1967) is an English musician, best known as the founder, lead guitarist, singer and songwriter of progressive rock band Porcupine Tree. He is involved in many other bands and musical projects both as musician and producer (including No-Man and Blackfield) and also maintains a solo career.

Wilson is a self-taught producer, audio engineer, guitar and keyboard player, playing other instruments as and where required (including bass guitar, concert harp, hammered dulcimer and flute).

He used to split his living time between Tel Aviv and London, England,^[1] but he no longer holds a permanent residence in Tel Aviv.^[2]

Biography[link]

Background and early years[link]

Born in Kingston upon Thames, London, England^[3] (but brought up in Hemel Hempstead, Hertfordshire, England from the age of 6)^{[citation needed]}, Wilson discovered his love for music around the age of 8. It began one Christmas when his parents bought presents for each other in the form of LPs. His father and mother received Pink Floyd's The Dark Side of the Moon and Donna Summer's Love to Love You Baby, respectively. The young Steven spent much of his childhood listening to these albums in "heavy rotation", as he once commented.

Both LPs would influence his future song writing. He claims "...in retrospect I can see how they are almost entirely responsible for the direction that my music has taken ever since." His interest in Pink Floyd led him towards experimental/psychedelic conceptual progressive rock (as exemplified by Porcupine Tree and Blackfield), and Donna Summer's trance-inflected grooves inspired the initial musical approach of No-Man (Wilson's long-running collaboration with fellow musician and vocalist Tim Bowness), although the band would later develop a more meditative and experimental Talk Talk-esque approach.

As a child, Steven was forced to learn the guitar, but he did not enjoy it; his parents eventually stopped paying for lessons. However, at the age of 11 Wilson rescued a nylon string classical guitar from his attic and started to experiment with it; or in his own words, "...scraping microphones across the strings, feeding the resulting sound into overloaded reel to reel tape recorders and producing a primitive form of multi-track recording by bouncing between two cassette machines." At the age of twelve, his father, who was an electronic engineer, built him his first multi-track tape machine and a Vocoder so he could begin experimenting with the possibilities of studio recording.^[4]

Early bands[link]

It didn't take long before he began to form bands with his friends from school and play live. However, the activity which kept him satisfied the most was that of experimenting with sounds and producing the recordings he made. Between the years 1983 and 1986 he began to record material for release. Some of those tapes have recently resurfaced due to the increasing popularity of Porcupine Tree. Wilson describes it as "...a bit like a painter having his nursery school paint blots on display..."^{[citation needed]}

One of these projects was the psychedelic duo Altamont (featuring a 15-year-old Wilson working with synth/electronics player Simon Vockings). Their one and only cassette album, Prayer for the Soul, featured lyrics by British psychedelic scenester Alan Duffy, whose work Wilson would later use for two Porcupine Tree songs: "This Long Silence" and "It Will Rain for a Million Years". Around the same time that Wilson was working as Altamont, he was also in a teenaged progressive rock band called Karma, who played live around Hertfordshire and recorded two cassette albums, The Joke's On You (1983) and The Last Man To Laugh (1985). These contained early versions of "Small Fish", "Nine Cats" and "The Joke's On You", which were subsequently resurrected as Porcupine Tree songs.

Wilson went on to join the New Wave/AOR band Pride of Passion as keyboard player, replacing former Marillion keyboard player Brian Jelliman (another former Marillion member, Diz Minnitt, also played in the band). Pride of Passion would later change their name to Blazing Apostles and alter their lineup and approach, finally coming to an end in 1987.^[5][6]

Breakthrough work[link]

Up to this point Wilson's diverse musical experiments had contained avant-garde and industrial recordings, psychedelia and progressive rock. He was, however, also becoming more interested in songwriting and pop music, something that would manifest itself in his next developments.

In 1986, Wilson launched the two projects that would make his name. The first of these was initially called "No Man Is An Island (Except The Isle Of Man)", although it would later be renamed "No-Man." This began life as a solo Wilson instrumental project blending progressive rock with synth pop, subsequently moving towards art-pop when singer/lyricist Tim Bowness joined the project the following year. The second project was "Porcupine Tree", which was originally a full-on pastiche of psychedelic rock (inspired by the similar Dukes of Stratosphear project by XTC) and which was carried out for the mutual entertainment of Wilson and his schoolfriend Malcolm Stocks.

Over the next three years, the projects would evolve in parallel. No Man Is An Island (Except The Isle Of Man) was the first to release a commercial single (1989's "The Girl From Missouri", on Plastic Head Records), while Porcupine Tree built an increasing underground reputation via the release of a series of cassette-only releases via The Freak Emporium (the mail-order wing of British psychedelic label Delerium Records).

By 1990, No Man Is An Island (Except The Isle Of Man) had fully evolved into No-Man and was a voice/violin/multi-instrument trio which had incorporated dance beats into its art-pop sound. The second No-Man single – a crooned cover of the Donovan song "Colours" arranged in a dub-loop style anticipating trip-hop - won the Single of the Week award in Melody Maker and gained the band a recording contract with the high-profile independent label One Little Indian (at the time, famous for The Shamen and Björk). Their debut One Little Indian single, "Days In The Trees", won the same Single of the Week award the following year. The single also briefly charted and, although sales were not outstanding, Wilson had now gained credibility in the record industry (as well as enough finance to fit out his home studio with the equipment he’d need to advance his music). By this time, he’d also released the official, lavishly packaged Porcupine Tree debut album, On the Sunday of Life... (which compiled the best material from the underground tapes).

No-Man's debut full-length release – a compilation of EP tracks called Lovesighs – An Entertainment – followed in 1992, as did Porcupine Tree's infamous LSD-themed maxi-single "Voyage 34" which made the NME indie chart for six weeks.^[7] No-Man also toured England with a six-piece band including three ex-members of the glam-pop band Japan – Mick Karn, Steve Jansen and (most significantly) keyboardist Richard Barbieri. 1993 saw Wilson consolidating his initial success with albums from both Porcupine Tree (Up the Downstair) and No-Man (Loveblows And Lovecries – A Confession). At the end of 1993, Porcupine Tree was launched as a four-piece live band featuring Wilson, Barbieri, bass player Colin Edwin and former No-Man live drummer Chris Maitland.

From this point onwards, Wilson would alternate between Porcupine Tree and No-Man releases. Although No-Man retired from live performance in 1994 (and would not return to the stage until 2006), the band continued to release a steady stream of albums featuring guests such as Barbieri, Steve Jansen, Robert Fripp, Theo Travis and Pat Mastelotto, and has maintained a healthy cult following as well as continued critical acclaim. Porcupine Tree, meanwhile, toured frequently (steadily gaining credibility as a consistent band) and passed through various overt phases of different musical stylings (including psychedelia, progressive rock, modern guitar rock and heavy metal) while retaining the core of Wilson's sonic imagination and songwriting. By the mid-2000s Porcupine Tree had become a highly successful rock band with albums on major labels such as Atlantic and Roadrunner, with Wilson's singing, songwriting and frontman skills increasing by the year. Also by this time, Wilson had become in-demand as a producer and was being cited as an influence by various up-and-coming musicians.

Diversification[link]

During the late 90's Wilson's love of experimental, drone and ambient music began to manifest itself in a series of new projects, notably Bass Communion and Incredible Expanding Mindfuck (also known as IEM). He also began to release a series of CD singles under his own name.

Having established himself as a skilled producer with a very high standard of sound engineering, Wilson was invited to produce other artists, notably the Norwegian artist Anja Garbarek and Swedish progressive-metal band Opeth. Though he claims to enjoy production more than anything else, with the demands of his own projects, he has mostly restricted himself to mixing for other artists in the last few years.^[8]

More recently Wilson has become known for his 5.1 Surround Sound mixes: the 2007 Porcupine Tree album Fear of a Blank Planet was nominated for a Grammy in the "Best Mix For Surround Sound" category.^[9] The album was also voted #3 album of the year by Sound And Vision.^[10] Wilson is currently working on several other surround sound projects, including remixing the Jethro Tull and King Crimson back catalogue.^[11]

Steven Wilson has recently begun to write reviews for the Mexican edition of the Rolling Stone magazine. They're all translated to Spanish. Two reviews have been published so far: one for Radiohead's In Rainbows and other for Murcof's 2007 work, Cosmos.^[12] He also contributes to UK magazine Classic Rock as an occasional reviewer.

Group projects (and pseudonymous projects)[link]

Porcupine Tree[link]

Steven Wilson photo of 2007

Porcupine Tree started out as a duo of Wilson and his schoolfriend Malcolm Stocks (with Wilson providing the majority of the instrumentation and Stocks contributing mostly ideas, additional vocals and experimental guitar sounds). Wilson began experimenting by recording music in his home until he had the hunch it could become someway marketable. The material was subsequently compiled into three demo tapes (Tarquin's Seaweed Farm, Love, Death & Mussolini and The Nostalgia Factory). For the first tape, he even wrote an inlay introduction to an obscure (imaginary) band called "The Porcupine Tree", suggesting the band met in the early '70s at a rock festival, and they had been in and out of prison many times. The booklet also contained information about band's obscure members like Sir Tarquin Underspoon and Timothy Tadpole-Jones, and crew members like Linton Samuel Dawson (if put into initials forming LSD). Wilson: "It was a bit of fun. But of course like anything that starts as a joke, people started to take it all seriously!".^[13] When Wilson signed to Delerium label, he selected what he considered the best tracks from these early tapes. All those songs were mastered and made up Porcupine Tree's first official studio album, On the Sunday of Life....

Quickly after, Wilson would release the single "Voyage 34", a thirty-minute long piece that could be described as a mixture of ambient, trance and psychedelia. This was done partly as an attempt to produce the longest single yet released, which it was until it was later exceeded by The Orb's "Blue Room." With non-existent radio play "Voyage 34" still managed to enter the NME indie chart for six weeks and became an underground chill-out classic.^[7]

The second full-length album, Up the Downstair (though Wilson considers it the first 'proper' PT album since it was made as such and not simply compiled), was released in 1993 and had a very good reception, praised by Melody Maker as "a psychedelic masterpiece... one of the albums of the year".^[14] This was the first album to include ex-Japan member, keyboardist Richard Barbieri and Australian-born bassist Colin Edwin. About the end of the year, Porcupine Tree became a full band for the first time with the inclusion of Chris Maitland on drums.

Wilson continued exploring the ambient and trance grounds and issued The Sky Moves Sideways. It also entered the NME, Melody Maker, and Music Week charts^[7] and many fans started hailing them as the Pink Floyd of the nineties, something Wilson would reject: "I can't help that. It's true that during the period of 'The Sky Moves Sideways', I had done a little too much of it in the sense of satisfying, in a way, the fans of Pink Floyd who were listening to us because that group doesn't make albums any more. Moreover, I regret it".^[13]

The band's fourth work, Signify, included the first full-band compositions and performance, which resulted in less use of drum machines and a more full-band sound. It can be considered a departure from its predecessors for a more song-oriented style.^[15] After the release of the live album Coma Divine concluded their deal with Delerium in 1997, the band moved to Snapper and issued two poppier albums, Stupid Dream in 1999 and Lightbulb Sun in 2000. Both were critical successes and only increased their popularity in the underground music scene.

Two years would pass until their sixth studio album, and in the meantime the band switched labels again, this time signing to Lava, and drummer Chris Maitland was replaced by Gavin Harrison. Now with the support of a major label, In Absentia saw the light of day in 2002, featuring a heavier sound than all the group's previous works. It charted in many European countries and remains one of the top-selling Porcupine Tree albums by now; it was also their first record to be released in 5.1 Surround Sound, in a special edition of 2004 that shortly after won the "Best Made-For-Surround Title" award for the Surround Music Awards 2004. Another two years elapsed before its follow-up, Deadwing, an ambitious and very cohesive record inspired by a film script by Steven Wilson and his friend Mike Bennion, was released in May 2005. This became the first Porcupine Tree album to chart the Billboard 200, entering at #132. The album was prizewinning for the "Album of the Year" award on the Classic Rock magazine awards^[16] and its surround version received the "Best Made-For-Surround Title" once again.^[17]

Steven Wilson started writing Porcupine Tree's next album in early 2006 in Tel Aviv, Israel, alongside work on the second album for his side-project Blackfield. Writing sessions finished in London, UK, in June 2006, then in August of the same year, the band released their first live DVD, titled Arriving Somewhere... and started a tour between September and November to promote it, during which the first half of each show was made up of all-new material. When the tour concluded the band went to studio and finished recording and mastering and added the last touches to the album. In early January 2007, the band revealed the album title was going to be Fear of a Blank Planet (a deliberate reference to Public Enemy's Fear of a Black Planet), and the concept was influenced by the Bret Easton Ellis novel Lunar Park. The album hit the shops on 16 April 2007 in Europe and April 24 in USA. The lyrics revolve around common 21st Century issues such as technology alienation, teen violence, prescription drugs, attention deficit disorder and bipolar disorder.

Fear of a Blank Planet resulted in the most successful album to date in terms of market and sales, and also received the most favourable reviews of the band's whole career. It entered the Billboard 200 at #59, and charted in almost all European countries, peaking at #31 in the UK. It was nominated for a US Grammy, and won several polls as the best album of the year (e.g. Classic Rock magazine, Aardshock, The Netherlands). In July 2007 the Nil Recurring EP was released, containing other material that hadn't made it onto the album for one reason or another.

At a European show in August 2008, Wilson said that Porcupine Tree was beginning work on material for their next album with an eye toward a release in 2009.^[18] Consisting of one long 55 minute song along with 4 shorter songs on the second disc, The Incident was released on September 14, 2009.

The Incident is a double CD set containing the self-titled 55 minute song cycle on disc 1. It has received significant attention and media coverage, and achieved for the band their highest chart positions to date, reaching 5 in The Netherlands, 9 in Germany, 23 in the UK, and 25 on the Billboard 200 in the USA. The subsequent tour of the US and Europe highlighted a large increase in the band's following, with many shows sold out. The single from The Incident, "Time Flies" was available as the free download from iTunes for one week in October 2009.^[19] A new DVD release is expected in Spring 2010, and a preview appeared on the band's website in April 2010.

No-Man[link]

No-Man is Wilson's long term collaboration with singer and songwriter Tim Bowness. Influenced by everything from ambient music to hip-hop, their early singles and albums were a mixture of dance beats and lush orchestrations. However, after a few years the duo started to create more textural and experimental music, most comparable with later Talk Talk. Beginning with Flowermouth in 1994, they have worked with a very wide palette of sounds, and many guest musicians, blending balladry with both acoustic and electronic sounds. No-Man was the first Wilson project to achieve any degree of success, signing with UK independent label One Little Indian (the label of Björk, The Shamen and Skunk Anansie among others), and releasing a string of critically acclaimed singles. The band remains an ongoing, predominantly studio-based project and continues to produce material, although it has never achieved the same level of commercial success as Porcupine Tree.

I.E.M.[link]

In 1996 came the first in a series of albums by I.E.M. (The Incredible Expanding Mindfuck, a name which had also been considered for Porcupine Tree in its infancy), dedicated to exploring Wilson's love of krautrock and experimental rock music. Initially Wilson had planned for the project to be anonymous, but then label Delerium Records published a song on their Pick N Mix compilation with the composition credited to "Steven Wilson" and so attempts to pass off the project in this way were abandoned.^[20] The project released 2 more albums Arcadia Son, and IEM Have Come For Your Children, both in 2001. A box set of 4 CDs, consisting of everything Wilson recorded under the name - billed as "an homage and a final farewell to I.E.M." - was released in June 2010.

Bass Communion[link]

In 1998 Wilson launched another solo project Bass Communion, dedicated to recordings in an ambient, drone, and/or electronic vein. The atmosphere of the music has tended towards the dark and melancholic, but expressed with an almost Zen-like beauty. More recently Wilson has also started working with a guitar and laptop configuration to create fuzzy power drones. So far there have been several full length Bass Communion CDs, vinyl LPs, and singles, many of them issued in handmade or limited editions (which sell out very quickly) in elaborate packaging. Bass Communion has collaborated with many leading experimental musicians such as Muslimgauze, Robert Fripp, Vidna Obmana (on the ongoing Continuum project), Jonathan Coleclough, Colin Potter, Andrew Liles, and several others.

Steven Wilson during a Blackfield performance at New York, in 2005

Blackfield[link]

In 2001 Wilson met and began to collaborate with Israeli rock star Aviv Geffen, with whom he created the band Blackfield. Since then the duo have released three highly acclaimed albums of what they refer to as "melodic and melancholic rock". The albums spawned several hits, notably "Blackfield", "Pain" and "Once". The band has toured several times, and a live DVD of their show in New York was released in 2007. A third album, titled "Welcome to my DNA" was released on 28 March 2011 with a European and American tour to follow.

Storm Corrosion[link]

In March 2010 Wilson and Mikael Åkerfeldt, the front man of Opeth decided to work on a new project as a collaboration under the name of Storm Corrosion. The self-titled album is set to be released in April 2012 on Roadrunner Records. It has been described as being "the final part in the odd trilogy of records completed by (Opeth's) Heritage and Steven Wilson's brand new solo album Grace for Drowning.^[21][22]

Solo career[link]

Cover Versions[link]

Between 2003 and 2010 Wilson released a series of six two-track CD singles under his own name, each one featuring a cover version and an original Steven Wilson song. The choice of covers is unpredictable, featuring songs by Canadian singer Alanis Morissette, Swedish pop group Abba, UK rock band The Cure, Scottish songwriter Momus, Prince, and Scottish singer/songwriter Donovan.

Separate from the Cover Versions series, Wilson has also contributed a cover version of the Cardiacs song "Stoneage Dinosaurs" to Leader Of The Starry Skies: A Tribute To Tim Smith, Songbook 1 (a fundraising compilation album released in December 2010 to benefit the hospitalised Cardiacs leader Tim Smith, whom Wilson has cited as a major inspiration spiritually, if not necessarily in style).^[23]

[edit] Insurgentes

In November 2008 Wilson released his first official solo album, Insurgentes, recorded all over the world between January–August, as a double CD plus a DVD-A (limited to 3,000 copies) and a 4 x 10 inch vinyl version (limited to 1,000 copies), both with hardback book featuring the images of acclaimed and long time collaborator Danish photographer Lasse Hoile. A standard retail CD version (also including the 5.1 DVD-A) was released on 9 March 2009.^[24]

Lasse Hoile's full length feature version of the film based on the recording of the album was premiered at the CPH:DOX international film festival in Copenhagen in November 2009. The film will also be screened at film festivals in Sweden, Germany, Mexico, USA, and Canada. The film is described as part documentary / part surreal road movie. Lasse also directed a video for the song Harmony Korine from the Insurgentes album - the video was a homage to some of Steven and Lasse's favourite European art house films, and has been nominated for Best Cinematography Award and Best Music Video Award at the prestigious Plus Camerimage - International Film Festival of the Art of Cinematography Awards.

A remix mini album was released in November, featuring remixes of material from Insurgentes by TV on the Radio's David A. Sitek, Dälek, Engineers, Pat Mastelotto, and Fear Falls Burning.

[edit] Grace for Drowning

Wilson's second album, Grace For Drowning, was released in September 2011 in CD, vinyl and Blu-ray formats.^[25] It is a double album, with the individual parts named Deform to Form a Star and Like Dust I Have Cleared From My Eye.^[26] He also announced his first solo tour, in Europe and North America, to promote his solo albums. The tour took place in October and November 2011 and contained songs from both Insurgentes and Grace for Drowning.^{[citation needed]}

On December 16, 2011, Wilson announced on his Facebook page new European tourdates for the second leg of his Grace for Drowning tour, running in April and May 2012. South American dates were later added and announced in February 21, 2012, including Venezuela, Chile, Argentina and Brazil^[27].

Third solo studio album[link]

Wilson has announced plans to do a third solo studio album, with the members of the touring band for Grace for Drowning.^[28]

Collaborations[link]

He produced and contributed backing vocals, guitar and keyboards for Opeth on the albums Blackwater Park, Deliverance, and Damnation. In addition to this, he has collaborated on many projects with Belgian experimental musician Dirk Serries of Vidna Obmana and Fear Falls Burning, most notably on their collaboration project Continuum which has so far produced two albums. Wilson is also featured on a Fovea Hex EP "Allure" (Part 3 of the "Neither Speak Nor Remain Silent" trilogy of EP's) on bass guitar. This EP was released in April 2007 through Die-Stadt Musik.

Steven Wilson has also worked with OSI, Marillion, JBK, Orphaned Land, Paatos, Theo Travis, Yoko Ono, Fish, Cipher and Anja Garbarek performing songwriting duties as well as performing musically. Most recently, Wilson is featured on the Pendulum album "Immersion", with his vocals featuring on "The Fountain".^[29] He made a guest appearance on Dream Theater's 2007 album, Systematic Chaos on the song "Repentance", as one of several musical guests recorded apologizing to important people in their lives for wrongdoings in the past.

Wilson did an interview with German musician and composer Klaus Schulze. Schulze was an important figure of the Krautrock movement. This interview is featured as bonus material in Schulze's Live DVD, Rheingold.^[30]

The Anathema album, We're Here Because We're Here, was mixed by Wilson in a period beginning January 2010 and he is thanked in the album liner notes.^[31] A current ongoing project for Wilson is remixing the back catalogue of King Crimson from 1969 to 1984 into MLP (Meridian Lossless Packaging) 5.1 and new stereo mixes.^[32] The first three new editions were issued in October 2009, with more emerging in batches over the coming years.^[33]

Performance style[link]

For live shows Wilson plays with bare feet. This particular custom goes back to his early childhood, where he remembers: "I always had a problem wearing shoes and I've always gone around with bare feet".^[34] He also adds that another factor on performing barefoot is the advantage it gives in operating his diverse guitar pedals.^[35]

Wilson:

"I’ve stepped on nails, screws, drawing pins, stubbed my toe, I’ve come off stage with blood just coming out… I mean, I’ve had it all mate, but to be honest, nothing's going to stop me."^[34]

Discography[link]

See also[link]

• List of hammered dulcimer players

References[link]

External links[link]

Wikimedia Commons has media related to: Steven Wilson

• Steven Wilson Headquarters
• Steven Wilson's Complete Discography
• Chemical Harvest - French Porcupine Tree & Steven Wilson Site
• Steven Wilson at last.fm
• The Seaweed Farm - Steven Wilson related news
• Aural Innovations Review/Interview
• Steven Wilson French Site - Steven Wilson French Site (since 2008)

Ray William Johnson (born 1981-1982) is an American actor and comedian best known for his YouTube series Equals Three, in which he provides commentary on viral videos.^[2][3] Many of the videos featured on Equals Three are noted to have received an additional boost of popularity.^{[4][5][6][7][8]} As of May 2012, the RayWilliamJohnson channel is the most subscribed channel on YouTube,^[9][10] with over 5.4 million subscribers, and over 1.7 billion video views.^[11] In February 2011, one industry publication noted that Johnson currently had six of the top twenty most watched videos of the month.^[12]

Background[link]

Johnson graduated from Norman North High School in Oklahoma, in 1999,^[1] however Johnson's Youtube profile states he was born and raised in Oklahoma City, Oklahoma.^[13] In an interview with Wall Street Journal, Johnson says that he studied at Columbia University, as a history major,^[1] while his profile adds he was preparing to study law.^[13] While at Columbia, Johnson started his first formatted show, Equals Three, as a way to combine two popular video styles, watching viral videos and video bloggers.^[2]

Current projects[link]

[edit] Equals Three

Equals Three
Title card
Genre	Comedy
Created by	Ray William Johnson
Written by	Phil Haney Steve Greene Marvin Silbermintz Erin Schmalfeld Ilana Cohn Brandon Perna "Big Rob" Lance Patrick Ray William Johnson
Presented by	Ray William Johnson
Country of origin	United States
Language(s)	English Spanish (Igual a Tres)
No. of episodes	265 (as of March 3, 2012)
Production
Executive producer(s)	Ray William Johnson
Producer(s)	Erin Schmalfeld
Editor(s)	Brandon Perna
Broadcast
Original channel	RayWilliamJohnson
Original run	2008 (2008) – present
Chronology
Related shows	Breaking Your Favorite Martian Igual a Tres YFMTS
External links
Website

In Equals Three (stylized as "=3"), Ray William Johnson reviews, criticizes, and adds commentary to some of the internet's latest viral videos.^[3] Equals Three episodes are usually uploaded to his channel every Tuesday and Friday. In these episodes, Johnson interacts with his audience by posting a viewer-submitted "comment question of the day", then features five of his favorite comments in the preceding episode. Equals Three is on the most subscribed channel on YouTube, having over 5 million subscribers to date, and has been recognized by Guinness World Records.^[2][14][15] Because of his popularity, Equals Three episodes can consistently obtain several million views within a week. Johnson has been able to leverage his popularity to secure several celebrity guests on Equals Three, including Robin Williams,^[16] Gabriel Iglesias,^[17] Kal Penn,^[18] Margaret Cho,^[19] Bobby Lee,^[20] T.J. Miller,^[21] Garfunkel and Oates,^[22] John Cho,^[18] Jason Biggs,^[23] Andy Milonakis^[24] and Traphik.^[25]

Your Favorite Martian[link]

In January 2011, Johnson launched a collaborative YouTube channel called "YourFavoriteMartian", which features animated music videos.^{[26][27][dead link]} The songs are performed by a virtual band of four fictional cartoon characters: PuffPuff Humbert (vocals, voiced by Johnson), DeeJay (turntables), Axel Chains (drums), and Benatar (vocals, guitar/keytar).^[28] Johnson writes lyrics, raps, sings, composes beats, and sometimes collaborates with other musicians to produce the songs.^[29] The following is a list of music videos that have been released so far:

To date, Johnson has released 30 original songs, 1 remix, and 3 covers through the channel. As of May 2012, the channel has over 1.8 million subscribers, making it one of the most subscribed channels on YouTube, and over 372 million video views.^[30][31] Due to the rapid growth of popularity of the channel and the music videos getting more views than the Equals Three episodes, Johnson has commented in his Breaking Los Angeles video blog that he at some point hopes to have the music videos released weekly instead of bi-weekly.^[32]

[edit] Breaking

BreakingNYC is a former daily video blog or vlog that Johnson started in December 2009 while living in New York City. He made the vlogs almost daily until June 2010. After nearly a year-long hiatus, Johnson resumed contributing to the video blog channel, creating a new higher quality series with a similar format. The new series titled, Breaking Los Angeles and the Adventures of Puff Puff, was released every Friday and is filmed in Los Angeles. Johnson often featured notable guests in his new series, including rappers Wax, Hoodie Allen and Dumbfoundead, slam poet George Watsky, comedian Gabriel Iglesias, and actor/director Bobcat Goldthwait. After Johnson took a three-month hiatus from making videos for the channel, a third season of Breaking Los Angeles (retitled to Breaking: Season 3), premiered on December 14, 2011.

References[link]

External links[link]

Internet portal

• Official Site