Emotions
Affection Anger Angst Anguish Annoyance Anxiety Apathy Arousal Awe Boldness Boredom Contempt Contentment Curiosity Depression Desire Despair Disappointment Disgust Distrust Dread Ecstasy Embarrassment Envy Euphoria Excitement Fear Fearlessness Frustration Gratitude Grief Guilt Happiness Hatred Hope Horror Hostility Hurt Hysteria Indifference Interest Jealousy Joy Loathing Loneliness Love Lust Misery Panic Passion Pity Pleasure Pride Rage Regret Remorse Sadness Satisfaction Shame Shock Shyness Sorrow Suffering Surprise Terror Trust Wonder Worry Zeal Zest
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Examples of basic emotions.

Emotions are the various bodily feelings associated with mood, temperament, personality, disposition, and motivation and also with hormones such as dopamine, noradrenaline, and serotonin. Motivations direct and energize behavior, while emotions provide^{[clarification needed]} the affective component to motivation, positive or negative.^[1] Emotions are defined as feeling states with physiological, cognitive, and behavioral components (Carlson & Hatfield, 1992). Strong emotions arouse the autonomic nervous system (Gomez et al, 2005). The greater the arousal the more intense the emotion. It also appears that the type of arousal affects the emotion being experienced. Although the work emotion might seem to be about feeling and not about thinking, cognitions-particularly interpretations of the meanings of events--are important aspects of emotions. Fear, which usually occurs in response to a threat, involves cognitions that one is in danger as well as arousal of the sympathetic nervous system (e.g. rapid heartbeat and breathing, sweating, muscle tension). Emotions also involve behavioral tendencies. No definitive emotion classification system exists, though numerous taxonomies have been proposed. Some categorizations include:^{[citation needed]}

• "Cognitive" versus "non-cognitive" emotions ^[2]
• Instinctual emotions (from the amygdala), versus cognitive emotions (from the prefrontal cortex).^{[citation needed]}
• Universal emotions recognized cross-culturally based on research on identification of facial expressions ^[3]

Several different theories aim to explain the origin, neurobiology, experience, and function of emotions.

Classification[link]

In 1972, Paul Ekman developed the following classifications of basic emotions: anger, disgust, fear, happiness, sadness and surprise.^[4] Robert Plutchik developed the "wheel of emotions", suggesting eight primary bipolar emotions: joy versus sadness; anger versus fear; trust versus disgust; and surprise versus anticipation.^[4] Some basic emotions can be modified to form complex emotions. The complex emotions could arise from cultural conditioning or association combined with the basic emotions. Alternatively, similar to the way primary colors combine, primary emotions could blend to form the full spectrum of human emotional experience. For example interpersonal anger and disgust could blend to form contempt. Relationships exist between basic emotions, resulting in positive or negative influences. ^[5]

A distinction is then made between emotional episodes and emotional dispositions. Emotional dispositions are also comparable to character traits, where someone may be said to be generally disposed to experience certain emotions. For example an irritable person is generally disposed to feel irritation more easily or quickly than others do. Finally, some theorists place emotions within a more general category of "affective states" where affective states can also include emotion-related phenomena such as pleasure and pain, motivational states (for example, hunger or curiosity), moods, dispositions and traits.^[6]

[edit] Theories

Theories about emotions stretch back to at least as far as the stoics of ancient Greece, as well as Plato and Aristotle. There are sophisticated theories in the works of philosophers such as René Descartes,^[7] Baruch Spinoza^[8] and David Hume. Later theories tend to be shaped by advances in empirical research. Often theories are not mutually exclusive and many researchers incorporate multiple perspectives (theories) in their work. Issues include the relative importance of cognitive judgements versus perception of body states and the role of neurobiology and evolution.

Somatic theories[link]

Somatic theories of emotion claim that bodily responses, rather than judgements, are essential to emotions. The first modern version of such theories came from William James in the 1880s. The theory lost favor in the 20th century, but has regained popularity more recently due largely to theorists such as John Cacioppo,^[9], António Damásio^[10], Joseph E. LeDoux^[11] and Robert Zajonc^[12] who are able to appeal to neurological evidence.^{[citation needed]}

James–Lange theory[link]

William James, in the article "What is an Emotion?",^[13] argued that emotional experience is largely due to the experience of bodily changes. The Danish psychologist Carl Lange also proposed a similar theory at around the same time, so this position is known as the James–Lange theory. This theory and its derivatives state that a changed situation leads to a changed bodily state. As James says "the perception of bodily changes, as they occur, is the emotion." James further claims that "we feel sad because we cry, angry because we strike, afraid because we tremble, and neither we cry, strike, nor tremble because we are sorry, angry, or fearful, as the case may be."^[13]

This theory is supported by experiments in which by manipulating the bodily state, a desired emotion is induced.^[14] These experiments also have therapeutic implications (for example, in laughter therapy, dance therapy). Some people may believe that emotions give rise to emotion-specific actions: e.g. "I'm crying because I'm sad," or "I ran away because I was scared." The James–Lange theory, conversely, asserts that first we react to a situation (running away and crying happen before the emotion), and then we interpret our actions into an emotional response. In this way, emotions serve to explain and organize our own actions to us.

The James–Lange theory had until 1953 been all but abandoned by most scholars.^[15]

Tim Dalgleish (2004)^[16] states the following:

The James–Lange theory has remained influential. Its main contribution is the emphasis it places on the embodiment of emotions, especially the argument that changes in the bodily concomitants of emotions can alter their experienced intensity. Most contemporary neuroscientists would endorse a modified James–Lange view in which bodily feedback modulates the experience of emotion." (p. 583)

The issue with the James–Lange theory is that of causation (bodily states causing emotions and being a priori), not that of the bodily influences on emotional experience (which can be argued is still quite prevalent today in biofeedback studies and embodiment theory). ^[17]

Cognitive theories[link]

Several theories argue that cognitive activity—in the form of judgments, evaluations, or thoughts—is necessary for an emotion to occur. This, argued Richard Lazarus, is necessary to capture the fact that emotions are about something or have intentionality. This cognitive activity may be conscious or unconscious and may or may not take the form of conceptual processing.

Lazarus' theory is very influential; emotion is a disturbance that occurs in the following order: 1.) Cognitive appraisal—The individual assesses the event cognitively, which cues the emotion. 2.) Physiological changes—The cognitive reaction starts biological changes such as increased heart rate or pituitary adrenal response. 3.) Action—The individual feels the emotion and chooses how to react. For example: Jenny sees a snake. 1.) Jenny cognitively assesses the snake in her presence, which triggers fear. 2.) Her heart begins to race faster. Adrenaline pumps through her blood stream. 3.) Jenny screams and runs away. Lazarus stressed that the quality and intensity of emotions are controlled through cognitive processes. These processes underline coping strategies that form the emotional reaction by altering the relationship between the person and the environment.

George Mandler provided an extensive theoretical and empirical discussion of emotion as influenced by cognition, consciousness, and the autonomic nervous system in two books (Mind and Emotion, 1975, and Mind and Body: Psychology of Emotion and Stress, 1984)

There are some theories on emotions arguing that cognitive activity in the form of judgements, evaluations, or thoughts is necessary in order for an emotion to occur. A prominent philosophical exponent is Robert C. Solomon (for example, The Passions, Emotions and the Meaning of Life, 1993). The theory proposed by Nico Frijda where appraisal leads to action tendencies is another example.

It has also been suggested that emotions (affect heuristics, feelings and gut-feeling reactions) are often used as shortcuts to process information and influence behavior.^[18] The affect infusion model (AIM) is a theoretical model developed by Joseph Forgas in the early 1990s that attempts to explain how emotion and mood interact with one's ability to process information.

Perceptual theory[link]

A recent hybrid of the somatic and cognitive theories of emotion is the perceptual theory. This theory is neo-Jamesian in arguing that bodily responses are central to emotions, yet it emphasizes the meaningfulness of emotions or the idea that emotions are about something, as is recognized by cognitive theories. The novel claim of this theory is that conceptually-based cognition is unnecessary for such meaning. Rather the bodily changes themselves perceive the meaningful content of the emotion because of being causally triggered by certain situations. In this respect, emotions are held to be analogous to faculties such as vision or touch, which provide information about the relation between the subject and the world in various ways. A sophisticated defense of this view is found in philosopher Jesse Prinz's book Gut Reactions and psychologist James Laird's book Feelings.

Affective events theory[link]

This is a communication-based theory developed by Howard M. Weiss and Russell Cropanzano (1996), that looks at the causes, structures, and consequences of emotional experience (especially in work contexts). This theory suggests that emotions are influenced and caused by events which in turn influence attitudes and behaviors. This theoretical frame also emphasizes time in that human beings experience what they call emotion episodes— a "series of emotional states extended over time and organized around an underlying theme." This theory has been utilized by numerous researchers to better understand emotion from a communicative lens, and was reviewed further by Howard M. Weiss and Daniel J. Beal in their article, "Reflections on Affective Events Theory" published in Research on Emotion in Organizations in 2005.

Cannon–Bard theory[link]

In the Cannon–Bard theory, Walter Bradford Cannon argued against the dominance of the James–Lange theory regarding the physiological aspects of emotions in the second edition of Bodily Changes in Pain, Hunger, Fear and Rage. Where James argued that emotional behavior often precedes or defines the emotion, Cannon and Bard argued that the emotion arises first and then stimulates typical behavior.

Two-factor theory[link]

Another cognitive theory is the Singer–Schachter theory. This is based on experiments purportedly showing that subjects can have different emotional reactions despite being placed into the same physiological state with an injection of adrenaline. Subjects were observed to express either anger or amusement depending on whether another person in the situation displayed that emotion. Hence, the combination of the appraisal of the situation (cognitive) and the participants' reception of adrenaline or a placebo together determined the response. This experiment has been criticized in Jesse Prinz's (2004) Gut Reactions.

Component process model[link]

A recent version of the cognitive theory regards emotions more broadly as the synchronization of many different bodily and cognitive components. Emotions are identified with the overall process whereby low-level cognitive appraisals, in particular the processing of relevance, trigger bodily reactions, behaviors, feelings, and actions.

Situated perspective on emotion[link]

A situated perspective on emotion, developed by Paul E. Griffiths and Andrea Scarantino , emphasizes the importance of external factors in the development and communication of emotion, drawing upon the situationism approach in psychology.^[19] This theory is markedly different from both cognitivist and neo-Jamesian theories of emotion, both of which see emotion as a purely internal process, with the environment only acting as a stimulus to the emotion. In contrast, a situationist perspective on emotion views emotion as the product of an organism investigating its environment, and observing the responses of other organisms. Emotion stimulates the evolution of social relationships, acting as a signal to mediate the behavior of other organisms. In some contexts, the expression of emotion (both voluntary and involuntary) could be seen as strategic moves in the transactions between different organisms. The situated perspective on emotion states that conceptual thought is not an inherent part of emotion, since emotion is an action-oriented form of skillful engagement with the world. Griffiths and Scarantino suggested that this perspective on emotion could be helpful in understanding phobias, as well as the emotions of infants and animals.

Evolutionary psychology[link]

Illustration from Charles Darwin's The Expression of the Emotions in Man and Animals.

Perspectives on emotions from evolutionary theory were initiated in the late 19th century with Charles Darwin's book The Expression of the Emotions in Man and Animals.^[20] Darwin's original thesis was that emotions evolved via natural selection and therefore have cross-culturally universal counterparts. Furthermore, animals undergo emotions comparable to our own (see emotion in animals). In the early 1970s, Paul Ekman and colleagues began a line of research that suggests that many emotions are universal.^[1] He found evidence that humans share at least five basic emotions: fear, sadness, happiness, anger, and disgust.^[1] Other research in this area focuses on physical displays of emotion including body language of animals and humans (see affect display). The increased potential in neuroimaging has also allowed investigation into evolutionarily ancient parts of the brain. Important neurological advances were derived from these perspectives in the 1990s by, for example, Joseph E. LeDoux and António Damásio.

Social emotions evidently evolved to motivate social behaviors that were adaptive in the ancestral environment.^[1] For example, spite seems to work against the individual but it can establish an individual's reputation as someone to be feared.^[1] Shame and pride can motivate behaviors that help one maintain one's standing in a community, and self-esteem is one's estimate of one's status.^[1][21]

Neurobiological theories[link]

Based on discoveries made through neural mapping of the limbic system, the neurobiological explanation of human emotion is that emotion is a pleasant or unpleasant mental state organized in the limbic system of the mammalian brain. If distinguished from reactive responses of reptiles, emotions would then be mammalian elaborations of general vertebrate arousal patterns, in which neurochemicals (for example, dopamine, noradrenaline, and serotonin) step-up or step-down the brain's activity level, as visible in body movements, gestures, and postures.

For example, the emotion of love is proposed to be the expression of paleocircuits of the mammalian brain (specifically, modules of the cingulate gyrus) which facilitate the care, feeding, and grooming of offspring. Paleocircuits are neural platforms for bodily expression configured before the advent of cortical circuits for speech. They consist of pre-configured pathways or networks of nerve cells in the forebrain, brain stem and spinal cord.

The motor centers of reptiles react to sensory cues of vision, sound, touch, chemical, gravity, and motion with pre-set body movements and programmed postures. With the arrival of night-active mammals, smell replaced vision as the dominant sense, and a different way of responding arose from the olfactory sense, which is proposed to have developed into mammalian emotion and emotional memory. The mammalian brain invested heavily in olfaction to succeed at night as reptiles slept—one explanation for why olfactory lobes in mammalian brains are proportionally larger than in the reptiles. These odor pathways gradually formed the neural blueprint for what was later to become our limbic brain.

Emotions are thought to be related to certain activities in brain areas that direct our attention, motivate our behavior, and determine the significance of what is going on around us. Pioneering work by Broca (1878), Papez (1937), and MacLean (1952) suggested that emotion is related to a group of structures in the center of the brain called the limbic system, which includes the hypothalamus, cingulate cortex, hippocampi, and other structures. More recent research has shown that some of these limbic structures are not as directly related to emotion as others are, while some non-limbic structures have been found to be of greater emotional relevance.

In 2011, Lövheim proposed a direct relation between specific combinations of the levels of the signal substances dopamine, noradrenaline and serotonin and eight basic emotions. A model was presented where the signal substances forms the axes of a coordinate system, and the eight basic emotions according to Silvan Tomkins are placed in the eight corners. Anger is, according to the model, for example produced by the combination of low serotonin, high dopamine and high noradrenaline.^[22]

Lövheim Cube of emotion

Prefrontal cortex[link]

There is ample evidence that the left prefrontal cortex is activated by stimuli that cause positive approach.^[23] If attractive stimuli can selectively activate a region of the brain, then logically the converse should hold, that selective activation of that region of the brain should cause a stimulus to be judged more positively. This was demonstrated for moderately attractive visual stimuli^[24] and replicated and extended to include negative stimuli.^[25]

Two neurobiological models of emotion in the prefrontal cortex made opposing predictions. The Valence Model predicted that anger, a negative emotion, would activate the right prefrontal cortex. The Direction Model predicted that anger, an approach emotion, would activate the left prefrontal cortex. The second model was supported.^[26]

This still left open the question of whether the opposite of approach in the prefrontal cortex is better described as moving away (Direction Model), as unmoving but with strength and resistance (Movement Model), or as unmoving with passive yielding (Action Tendency Model). Support for the Action Tendency Model (passivity related to right prefrontal activity) comes from research on shyness^[27] and research on behavioral inhibition.^[28] Research that tested the competing hypotheses generated by all four models also supported the Action Tendency Model.^[29][30]

Homeostatic/primordial emotion[link]

Another neurological approach distinguishes two classes of emotion. "Classical" emotions including love, anger and fear, are evoked by appraisal of scenarios fed by environmental stimuli via distance receptors in the eyes, nose and ears.^[31] "Homeostatic"^[32] or "primordial"^[33] emotions are feelings such as pain, hunger, thirst and fatigue, evoked by internal body states, communicated to the central nervous system by interoceptors, which motivate behavior aimed at maintaining the body's internal milieu at its ideal state.^[34] These demanding sensations that capture conscious attention are coordinated from the lower or basal regions of the brain and impact diverse regions of the brain, including the frontal lobes.^[33]

Disciplinary approaches[link]

Many different disciplines have produced work on the emotions. Human sciences study the role of emotions in mental processes, disorders, and neural mechanisms. In psychiatry, emotions are examined as part of the discipline's study and treatment of mental disorders in humans. Nursing studies emotions as part of its approach to the provision of holistic health care to humans. Psychology examines emotions from a scientific perspective by treating them as mental processes and behavior and they explore the underlying physiological and neurological processes. In neuroscience sub-fields such as social neuroscience and affective neuroscience, scientists study the neural mechanisms of emotion by combining neuroscience with the psychological study of personality, emotion, and mood. In linguistics, the expression of emotion may change to the meaning of sounds. In education, the role of emotions in relation to learning is examined.

Social sciences often examine emotion for the role that it plays in human culture and social interactions. In sociology, emotions are examined for the role they play in human society, social patterns and interactions, and culture. In anthropology, the study of humanity, scholars use ethnography to undertake contextual analyses and cross-cultural comparisons of a range of human activities. Some anthropology studies examine the role of emotions in human activities. In the field of communication sciences, critical organizational scholars have examined the role of emotions in organizations, from the perspectives of managers, employees, and even customers. A focus on emotions in organizations can be credited to Arlie Russell Hochschild's concept of emotional labor. The University of Queensland hosts EmoNet,^[35] an e-mail distribution list representing a network of academics that facilitates scholarly discussion of all matters relating to the study of emotion in organizational settings. The list was established in January 1997 and has over 700 members from across the globe.

In economics, the social science that studies the production, distribution, and consumption of goods and services, emotions are analyzed in some sub-fields of microeconomics, in order to assess the role of emotions on purchase decision-making and risk perception. In criminology, a social science approach to the study of crime, scholars often draw on behavioral sciences, sociology, and psychology; emotions are examined in criminology issues such as anomie theory and studies of "toughness," aggressive behavior, and hooliganism. In law, which underpins civil obedience, politics, economics and society, evidence about people's emotions is often raised in tort law claims for compensation and in criminal law prosecutions against alleged lawbreakers (as evidence of the defendant's state of mind during trials, sentencing, and parole hearings). In political science, emotions are examined in a number of sub-fields, such as the analysis of voter decision-making.

In philosophy, emotions are studied in sub-fields such as ethics, the philosophy of art (for example, sensory–emotional values, and matters of taste and sentimentality), and the philosophy of music (see also Music and emotion). In history, scholars examine documents and other sources to interpret and analyze past activities; speculation on the emotional state of the authors of historical documents is one of the tools of interpretation. In literature and film-making, the expression of emotion is the cornerstone of genres such as drama, melodrama, and romance. In communication studies, scholars study the role that emotion plays in the dissemination of ideas and messages. Emotion is also studied in non-human animals in ethology, a branch of zoology which focuses on the scientific study of animal behavior. Ethology is a combination of laboratory and field science, with strong ties to ecology and evolution. Ethologists often study one type of behavior (for example, aggression) in a number of unrelated animals.

Sociology[link]

We try to regulate our emotions to fit in with the norms of the situation, based on many (sometimes conflicting) demands upon us which originate from various entities. These entities are studied by sociology on a micro level, such as social roles and "feeling rules" the everyday social interactions and situations are shaped by, and on a macro level by social institutions, discourses, ideologies, etc. For example, (post-)modern marriage is based on the emotion of love yet the very emotion is to be worked on and regulated by love. The sociology of emotions also focuses on general attitude changes in a population. Emotional appeals are commonly found in advertising, health campaigns and political messages. Recent examples include no-smoking health campaigns and political campaign advertising emphasizing the fear of terrorism.

Psychotherapy[link]

Depending on the particular school's general emphasis on either cognitive components of emotion, physical energy discharging, or on symbolic movement and facial expression components of emotion,^[36] different schools of psychotherapy approach human emotions differently. Cognitively oriented schools approach them via their cognitive components, such as rational emotive behavior therapy. Yet others approach emotions via symbolic movement and facial expression components (like in contemporary Gestalt therapy).^[37]

Computer science[link]

In the 2000s, research in computer science, engineering, psychology and neuroscience has been aimed at developing devices that recognize human affect display and model emotions.^[38] In computer science, affective computing is a branch of the study and development of artificial intelligence that deals with the design of systems and devices that can recognize, interpret, and process human emotions. It is an interdisciplinary field spanning computer sciences, psychology, and cognitive science.^[39] While the origins of the field may be traced as far back as to early philosophical enquiries into emotion,^[13] the more modern branch of computer science originated with Rosalind Picard's 1995 paper^[40] on affective computing.^[41][42] Detecting emotional information begins with passive sensors which capture data about the user's physical state or behavior without interpreting the input. The data gathered is analogous to the cues humans use to perceive emotions in others. Another area within affective computing is the design of computational devices proposed to exhibit either innate emotional capabilities or that are capable of convincingly simulating emotions. Emotional speech processing recognizes the user's emotional state by analyzing speech patterns. The detection and processing of facial expression or body gestures is achieved through detectors and sensors.

Etymology[link]

The English word emotion is derived from the French word émouvoir. This is based on the Latin emovere, where e- (variant of ex-) means "without" and movere means "move."^[43]

Notable theorists[link]

This unreferenced section requires citations to ensure verifiability.

William James about the time he wrote on emotions

In the late 19th century, the most influential theorists were William James (1842–1910) and Carl Lange (1834–1900). James was an American psychologist and philosopher who wrote about educational psychology, psychology of religious experience/mysticism, and the philosophy of pragmatism. Lange was a Danish physician and psychologist. Working independently, they developed the James–Lange theory, a hypothesis on the origin and nature of emotions. The theory states that within human beings, as a response to experiences in the world, the autonomic nervous system creates physiological events such as muscular tension, a rise in heart rate, perspiration, and dryness of the mouth. Emotions, then, are feelings which come about as a result of these physiological changes, rather than being their cause.^[44]

Silvan Tomkins (1911 – 1991) developed the Affect theory and Script theory. The Affect theory introduced the concept of basic emotions, and was based on the idea that the dominance of the emotion , which he called the affect system, was the motivating force in human life.^[45]

Some of the most influential theorists on emotion from the 20th century have died in the last decade. They include Magda B. Arnold (1903–2002), an American psychologist who developed the appraisal theory of emotions^[46]; Richard Lazarus (1922–2002), an American psychologist who specialized in emotion and stress, especially in relation to cognition; Herbert A. Simon (1916–2001), who included emotions into decision making and artificial intelligence; Robert Plutchik (1928–2006), an American psychologist who developed a psychoevolutionary theory of emotion^[47]; Robert Zajonc (1923–2008) a Polish–American social psychologist who specialized in social and cognitive processes such as social facilitation. An American philosopher, Robert C. Solomon (1942–2007), contributed to the theories on the philosophy of emotions with books such as What Is An Emotion?: Classic and Contemporary Readings (Oxford, 2003). Peter Goldie (1946-2011) British philosopher who specializes in ethics, aesthetics, emotion, mood and character

Influential theorists who are still active include the following psychologists, neurologists, and philosophers:

• Lisa Feldman Barrett – Social philosopher and psychologist specializing in affective science and human emotion.
• John Cacioppo – from the University of Chicago, founding father with Gary Berntson of social neuroscience.
• António Damásio (born 1944) – Portuguese behavioral neurologist and neuroscientist who works in the US
• Richard Davidson (born 1951) – American psychologist and neuroscientist; pioneer in affective neuroscience.
• Paul Ekman (born 1934) – Psychologist specializing in the study of emotions and their relation to facial expressions
• Barbara Fredrickson – Social psychologist who specializes in emotions and positive psychology.
• Nico Frijda (born 1927) – Dutch psychologist who specializes in human emotions, especially facial expressions
• Arlie Russell Hochschild (born 1940) – American sociologist whose central contribution was in forging a link between the subcutaneous flow of emotion in social life and the larger trends set loose by modern capitalism within organizations.
• Joseph E. LeDoux (born 1949) – American neuroscientist who studies the biological underpinnings of memory and emotion, especially the mechanisms of fear
• George Mandler (born 1924) - American psychologist who wrote influential books on cognition and emotion
• Jaak Panksepp (born 1943) – Estonian-born American psychologist, psychobiologist and neuroscientist; pioneer in affective neuroscience.
• Jesse Prinz – American philosopher who specializes in emotion, moral psychology, aesthetics and consciousness
• Klaus Scherer (born 1943) – Swiss psychologist and director of the Swiss Center for Affective Sciences in Geneva; he specializes in the psychology of emotion
• Ronald de Sousa (born 1940) – English–Canadian philosopher who specializes in the philosophy of emotions, philosophy of mind and philosophy of biology.

See also[link]

Wikiversity has learning materials about Emotion

References[link]

Notes[link]

Further reading[link]

External links[link]

Look up emotion in Wiktionary, the free dictionary.

• Online Demo: Emotion recognition from speech, University of Patras, Wire Communication Lab
• Facial Emotion Expression Lab
• CNX.ORG: The Psychology of Emotions, Feelings and Thoughts (free online book)
• Queen Mary Centre for the History of the Emotions
• Humaine Emotion-Research.net: The Humaine Portal: Research on Emotions and Human-Machine Interaction
• PhilosophyofMind.net: Philosophy of Emotions portal
• Swiss Center for Affective Sciences
• The Internet Encyclopedia of Philosophy: Theories of Emotion
• The Stanford Encyclopedia of Philosophy: Emotion
• University of Arizona: Salk Institute:

v t e Emotions (list) Emotions Adoration Affection Agony Awe Amusement Anger Anguish Annoyance Anxiety Arousal Attraction Caring Compassion Contempt Contentment Defeat Dejection Depression Desire Despair Disappointment Disgust Ecstasy Embarrassment Empathy Enthrallment Enthusiasm Envy Euphoria Excitement Fear Frustration Grief Guilt Happiness Hatred Homesickness Hope Horror Hostility Humiliation Hysteria Infatuation Insecurity Insult Interest Irritation Isolation Jealousy Loneliness Longing Love Lust Melancholy Neglect Optimism Panic Passion Pity Pleasure Pride Rage Regret Rejection Remorse Resentment Sadness Sentimentality Shame Shock Sorrow Spite Suffering Surprise Sympathy Tenseness Thrill Revenge Wonder Worry Diligence Zest Worldviews Compatibilism Existentialism Fatalism Incompatibilism Metaphysics Nihilism Optimism Pessimism Reclusion Social justice Weltschmerz Source: Parrott, W. (2001), Emotions in Social Psychology, Psychology Press, Philadelphia.

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

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

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

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

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

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

History[link]

Early years[link]

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

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

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

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

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

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

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

Late 1960s: first international fame[link]

The Bee Gees in 1967.

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

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

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

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

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

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

Early 1970s[link]

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

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

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

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

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

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

[edit] Late 1970s: Saturday Night Fever

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

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

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

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

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

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

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

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

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

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

1980s[link]

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

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

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

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

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

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

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

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

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

1990s[link]

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

The Bee Gees in Los Angeles in 1992.

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

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

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

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