document_title: James Bond Theme

question_text: who wrote the original james bond theme song

root

text: James Bond Theme

text: Authorship and origin[edit]

text: Monty Norman has been credited with writing the "James Bond Theme", and has received royalties since 1962. Norman collected around £485,000 in royalties between the years 1976 and 1999. For Dr. No, the tune was arranged by John Barry, who would later go on to compose the soundtracks for eleven James Bond films. Courts have ruled twice that the theme was written by Monty Norman, despite claims and testimony by Barry that he had actually written the theme. Norman has consequently won two libel actions against publishers for claiming that Barry wrote the theme, most recently against The Sunday Times in 2001.

tag: p

text: Norman describes the distinctive rhythm of the guitar in the first few bars of the "James Bond Theme" as "Dum di-di dum dum". He claims that it was inspired by the song "Good Sign Bad Sign" sung by Indian characters in A House for Mr Biswas, a musical he composed based on a novel by V.S. Naipaul set in the Indian community in Trinidad. Norman showed his manuscript music from A House for Mr Biswas in a filmed interview and sang its lyrics. In 2005, Norman released an album called Completing the Circle that features "Good Sign Bad Sign", the "James Bond Theme," and a similar-sounding song titled "Dum Di-Di Dum Dum." For these songs Norman added lyrics that explain the origin and history of the "James Bond Theme".

text: Though the "James Bond Theme" is identified with John Barry's jazz arrangement, parts of it are heard throughout Monty Norman's score for Dr. No in non-jazzy guises. Barry's arrangement is repeated ("tracked") in various scenes of the first Bond film. This is consistent with the account given by Barry and some of the film makers, contained in supplementary material on the DVD release of Dr. No: Barry was called in to make an arrangement of Norman's motif after Norman had completed the score. There is no information about the distinctive ostinati, countermelodies, and bridges introduced by Barry that are juxtaposed with Norman's motif in order to flesh out the arrangement. These added musical figures have become as recognizable to listeners as Norman's motif, which is probably responsible for the controversy over the authorship of the "James Bond Theme" as listeners have come to know it.

text: The "James Bond Theme" was recorded on 21 June 1962, using five saxophones, nine brass instruments, a solo guitar and a rhythm section.[1] The guitar riff heard in the original recording of the theme was played by Vic Flick on a 1939 English Clifford Essex Paragon Deluxe guitar plugged into a Fender Vibrolux amplifier. Flick was paid a one-off fee of £6 for recording the famous James Bond Theme riff.[2] John Scott played the saxophone. Barry, who was paid £250 for his work, was surprised that his theme appeared so often in Dr. No. He was told by Noel Rogers, the head of United Artists Music, that though the producers would not give him any more money or a writing credit they would get in touch with him if there was another Bond film made.[3]

text: Use in the James Bond films[edit]

text: This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (May 2017) (Learn how and when to remove this template message)

tag: table

text: Within the Bond films themselves, many different arrangements of the theme have been used, often reflecting the musical tastes of the specific times. The electric guitar version of the theme is most associated with the Sean Connery era although it was also used in some Roger Moore films, in Timothy Dalton's final film Licence to Kill and in the Bond films starring Pierce Brosnan with scores composed by David Arnold. For every Bond movie which John Barry scored, he orchestrated a slightly different version of the Bond theme, as can be heard during the gun barrel sequence. These specialised Bond themes often reflected the style and locations featured in the movie, and the actor playing Bond.

text: The "James Bond Theme" and its variations found in the movies are played during many different types of scenes. Early in the series, the theme provided background music to Connery's entrances. It was not until Goldfinger that John Barry began to use the theme as an action cue. Since then, the primary use of the "James Bond Theme" has been with action scenes.

text: Sean Connery (1962–67)[edit]

text: The first appearance of the "James Bond Theme" was in Dr. No. There it was used as part of the actual gunbarrel and main title sequence.

text: In From Russia with Love, the "James Bond Theme" appears not only in the gunbarrel pre-title sequence, but as part of the main title theme and in the track "James Bond with Bongos". It is a slower, jazzier, somewhat punchier rendition than the original orchestration. The original Barry arrangement from Dr. No is heard during a check of Bond's room for listening devices.

text: In Goldfinger, the "James Bond Theme" can be heard on the soundtrack in "Bond Back in Action Again" (gunbarrel and pre-title sequence). The "James Bond Theme" for this movie is heavily influenced by the brassy, jazzy theme song sung by Shirley Bassey.

text: Thunderball featured a full orchestral version of the theme in the track "Chateau Flight". Another full orchestral version was intended for the end titles of the film.

text: You Only Live Twice featured a funereal orchestration with Bond's "burial" at sea sequence in Hong Kong harbour. A full orchestral version of the theme was used in the Little Nellie autogyro fight scene.

text: George Lazenby (1969)[edit]

text: The George Lazenby film On Her Majesty's Secret Service used a unique high-pitched arrangement with the melody played on a Moog synthesizer. The cue is called "This Never Happened to the Other Feller" and a similar recording was used over the film's end credits. The film has a downbeat ending and the explosive burst of the "James Bond Theme" at the film's very end suggests Bond will return in spite of the situation he finds himself in at the climax of this movie.

text: Sean Connery (1971)[edit]

text: With the return of Sean Connery in Diamonds Are Forever, the guitar made a comeback along with a full orchestral version during a hovercraft sequence. On the soundtrack this track is named "Mr. Wint and Mr. Kidd/Bond to Holland."

text: Roger Moore (1973–85)[edit]

text: When Roger Moore came to the role, the "James Bond Theme" became a string orchestra driven piece. Likewise, in Live and Let Die, the James Bond theme was featured in a Funk-inspired version of the tune reflecting the music of Blaxploitation films popular at the time. After that in 1974 John Barry composed the theme and song but sung by Lulu. The brief quote of the theme in the pre-credits music of The Spy Who Loved Me, titled "Bond 77", featured a disco sound, reflecting a style of music which was very popular at the time. The Spy Who Loved Me returned briefly to using the surf-rock guitar associated with the theme from the early days. One unusual instance occurred in Octopussy, when Bond's contact, who is disguised as a snake charmer played a few notes of the tune for Roger Moore's James Bond, presumably as a pre-arranged identification signal; this is an example of the tune being used as diegetic music. In the last Bond film of Roger Moore, A View to a Kill the melody of the theme was played on strings.

text: Timothy Dalton (1987–89)[edit]

text: Timothy Dalton's first film The Living Daylights, which was the last Bond film scored by Barry, used a symphonic version with the melody played on strings. This version of the Bond theme is notable for its introduction of sequenced electronic rhythm tracks overdubbed with the orchestra - at the time, a relatively new innovation.

text: In Licence to Kill, the Bond theme was arranged by Michael Kamen using rock drums to symbolize a harder and more violent Bond. This gunbarrel is the first one since Dr. No not starting with the Bond theme but orchestral hits though the surf guitar makes returns soon after.

text: Pierce Brosnan (1995–2002)[edit]

text: The gunbarrel of the Pierce Brosnan film GoldenEye opened with a synthesized arrangement by Éric Serra which plays the guitar riff on (almost indistinct) kettle drums. A more traditional rendition by John Altman is heard in the film during the tank chase in St. Petersburg. This version of the "James Bond Theme" is not included in the GoldenEye soundtrack.

text: David Arnold's gunbarrel arrangements in Tomorrow Never Dies and The World Is Not Enough dropped the guitar melody line, jumping straight from the tune's opening to its concluding bars. An electronic rhythm was added to the gunbarrel of The World Is Not Enough. The typical Bond guitar line can be heard during some action scenes.

text: The Die Another Day gunbarrel recalls the version of From Russia with Love but with a more techno-influenced rhythm. It also contains the guitar riff of the "James Bond Theme".

text: Daniel Craig (since 2006)[edit]

text: Craig's first James Bond film, Casino Royale, does not feature the "James Bond Theme" in its entirety until the very end of the movie during a climactic scene. In Casino Royale, the main notes of the song "You Know My Name" are played throughout the film as a substitute for the "James Bond Theme". A new recording of the classic theme, titled "The Name's Bond…James Bond", only plays during the end credits to signal the beginning of the character's new arc as the 21st century version of James Bond. Although that is the first time the theme is played in its entirety, the first bars of the song (the chord progression) appeared as a slow background music in seven moments throughout the movie: after Bond's conversation with M (during his flight), after winning the Aston Martin, when he makes his first appearance in a tuxedo (accompanied by a few bars of the bridge), after he has survived the poisoned martini, when he wins the final match at Casino Royale, when Bond is following Vesper and one last time when Bond speaks with M on the phone. Then at the end of Quantum of Solace, the theme appears with Craig's new official gun-barrel sequence, unusually shown at the end of the film. The theme here is very similar to the classic style in Casino Royale. It appears sparingly throughout the score itself, never in an immediately recognizable variation. David Arnold said in an interview on the DVD extras for Tomorrow Never Dies that hearing the "James Bond Theme" is what he expects to hear as an audience member in action scenes, yet his scores for Casino Royale and Quantum of Solace only use it during the end credits.

text: The next film, Skyfall, includes the theme as part of the harmony to Adele's vocals and is used as the chord progression, including a faint surf guitar riff. Also, similar to Quantum of Solace, the gun-barrel sequence is shown at the end of Skyfall. The theme that plays along with the sequence and into the end credits is David Arnold's Casino Royale track "The Name's Bond…James Bond". Despite this, the film's score was composed by Thomas Newman, who also incorporated the "James Bond Theme" throughout the entire film. In Spectre, the theme appears at the beginning of the film as part of the opening gunbarrel sequence, indicating a return to the franchise's classic roots of 1962 - 2002.

text: Cover versions[edit]

text: Over 70 cover versions of the "James Bond Theme" have been recorded by artists such as:

text:
Barry Adamson
The Art of Noise
John Barry
Ray Barretto
Count Basie
bond
Biddu
Stanley Black
Al Caiola
Glen Campbell
Cannibal Corpse
Frank Chacksfield
Crazy Frog-named The Crazybond
Danny Davis
Taylor Davis
Fanfare Ciocărlia
Ferrante and Teicher
Lannie Flowers
Richard Fortus
The Four Esquires (vocal version)
Leroy Holmes
Johnny and the Hurricanes

George Martin Orchestra
Ray Martin
Hank Marvin
Meco
Moby
Hugo Montenegro
Franck Pourcel
Pendulum
Perez Prado
Poets of the Fall
The Selecter
Brian Setzer
Roland Shaw
The Skatalites
Ed Starink
Billy Strange
Akira Tana
The Ventures
Si Zentner
John Zorn

1963 cover version by Al Caiola

text: Moby re-version[edit]

text:
"James Bond Theme (Moby's Re-Version)"

Single by Moby

from the album I Like to Score and Tomorrow Never Dies

Released
3 November 1997

Format

CD
12-inch

Length

3:13
3:23 (I Like to Score version)

Label

Mute
Elektra

Songwriter(s)
Monty Norman

Producer(s)
Moby

Moby singles chronology

"Come On Baby"
(1996)
"James Bond Theme (Moby's Re-Version)"
(1997)
"Honey"
(1998)

"Come On Baby"
(1996)
"James Bond Theme (Moby's Re-Version)"
(1997)
"Honey"
(1998)

text: American electronica musician Moby produced a remixed version of the theme entitled "James Bond Theme (Moby's Re-Version)" for the Bond film Tomorrow Never Dies. It first appeared as the second track on I Like to Score, a compilation of Moby's songs used in films, and later featured as the fifteenth and final track on the Tomorrow Never Dies soundtrack album. Moby has said "It did feel a little strange remixing something that was perfect in its original state",[attribution needed] further admitting that he "still thinks the original is miles better than the version I did".[attribution needed]

text: Released as a single, "James Bond Theme (Moby's Re-Version)" charted at number eight on the UK Singles Chart, besting "Go"'s number 10 peak six years earlier to become, at the time, Moby's highest-peaking single on the chart.[4]

text: The song features two samples of dialogue from the Bond films: Pierce Brosnan saying "Bond, James Bond" as heard in GoldenEye, and the conversation between Bond and Auric Goldfinger in Goldfinger: "Do you expect me to talk?" / "No, Mr. Bond. I expect you to die."

text: Track listing[edit]

text: CD single (CDMUTE210)

tag: ul

text:
"James Bond Theme (Moby's Re-Version)" – 3:13
"James Bond Theme (Moby's Re-Version)" (Grooverider's Jeep Remix) – 7:42
"James Bond Theme (Moby's Re-Version)" (Da Bomb Remix) – 7:51
"James Bond Theme (Moby's Re-Version)" (CJ Bolland Remix) – 5:14
"James Bond Theme (Moby's Re-Version)" (Dub Pistols Remix) – 5:51
"James Bond Theme (Moby's Re-Version)" (CJ Bolland-Dubble-Oh Heaven Remix) – 6:07

tag: ol

text: 12-inch single (12MUTE210)

text:
"James Bond Theme (Moby's Re-Version)" (...O Lieb's L.S.G. Remix) – 8:05
"James Bond Theme (Moby's Re-Version)" (Moby's Extended Dance Mix) – 5:50
"James Bond Theme (Moby's Re-Version)" (Tenaglia Twilo Mix) – 11:57

text: Charts[edit]

text:
Chart (1997–98)
Peak
position

Australia (ARIA)[5]
65

Belgium (Ultratop 50 Flanders)[6]
44

Belgium Dance (Ultratop)[7]
14

Finland (Suomen virallinen lista)[8]
7

France (SNEP)[9]
41

Germany (Official German Charts)[10]
48

Ireland (IRMA)[11]
18

Netherlands (Dutch Top 40)[12]
27

Netherlands (Single Top 100)[13]
37

Sweden (Sverigetopplistan)[14]
31

Switzerland (Schweizer Hitparade)[15]
17

UK Singles (Official Charts Company)[4]
8

UK Dance (Official Charts Company)[16]
14

US Dance Club Songs (Billboard)[17]
1

text: Video games[edit]

text:
An original cover recording for the "James Bond Theme" was also created by Richard Fortus as downloadable content for the video game Guitar Hero World Tour (a case of corporate synergy, as Guitar Hero publisher Activision also held the license to produce games based on the James Bond franchise at the time).[18] Fortus later played the tune live with Guns N' Roses during their 2012 tour.[19]
The opening gunbarrel sequence for the Nintendo 64 game GoldenEye 007 uses a rock-influenced version of the theme. The game's soundtrack also makes recurring use of its motifs throughout, with corresponding variations in rhythm, scale and instrumentation.
An electrified version of the theme is played in the credits of the GoldenEye 007 game for the Wii
An 8-bit recording of the song was used on James Bond's inaugural video game, James Bond 007. 10 years after that game's released, Sega recorded another 8-bit version for Game Gear/Master System and the first 16-bit version for Sega Genesis of the tune for James Bond 007: The Duel (known as 007 Shitou -007死闘- in Japan.)

text: Recent use[edit]

text: South Korean figure skater Yuna Kim used a short medley of James Bond music which included the James Bond Theme for her Short Program at the 2010 Winter Olympic Games in Vancouver which won her the gold medal for Ladies Figure Skating.


document_title: Elder (Latter Day Saints)

question_text: duties of an elder in the lds church

question_tokens: duties of an elder in the lds church

text: Elder (Latter Day Saints)

text: This article uncritically uses texts from within a religion or faith system without referring to secondary sources that critically analyze them. Please help improve this article by adding references to reliable secondary sources, with multiple points of view. (December 2010) (Learn how and when to remove this template message)

text: Elder is a priesthood office in the Melchizedek priesthood of denominations within the Latter Day Saint movement, including The Church of Jesus Christ of Latter-day Saints (LDS Church).

text: The Church of Jesus Christ of Latter-day Saints[edit]

text: In the LDS Church, "elder" is considered the introductory—or lowest—of five offices of the Melchizedek priesthood. Every person who receives the Melchizedek priesthood is simultaneously ordained to the office of elder; this may be done to male members who are at least 18 years old. In order to be ordained, the member must be determined to be worthy by his local bishop and stake president.[1] The consent of the priesthood holders of the stake is also required before the ordination is performed, and this is usually done at a semiannual stake conference or an annual general stake priesthood meeting.[1] Ordination is accomplished by the laying on of hands and with the stake president's approval, may be performed by any holder of the Melchizedek priesthood.

text: According to the Doctrine and Covenants of the church, the duty of an elder is to "teach, expound, exhort, baptize, and watch over the church."[2] Elders have the authority to administer to and bless the sick and afflicted, to "confirm those who are baptized into the church, by the laying on of hands for the baptism of fire and the Holy Ghost",[3] to baptize and give others the Aaronic or Melchizedek priesthoods as directed by priesthood leaders, and to take the lead in all meetings as guided by the Holy Spirit.[4] An elder may ordain others to the priesthood offices of deacon, teacher, priest, or elder.

text: In practice, elders are responsible for many of the day-to-day operations of a ward. They are called to serve in a variety of positions throughout the ward, such as Aaronic priesthood quorum advisors, Young Men leaders, scout leaders, ward mission leader, and Sunday School leadership. Elders and high priests (assisted by teachers and priests) are also responsible for home teaching in the ward.

text: Elders are organized into quorums that may contain no more than 96 elders. A quorum president, along with two counselors, is called and set apart under the direction of the stake presidency, and generally serves for a number of years. A secretary is also called to assist the president and his counselors.

text: All adult men in the ward, whether they are faithful or not, are assigned to either the elders quorum or the high priests group, as directed by the bishop. However, ordained elders and high priests are assigned by default to the quorum or group consistent with their ordination.

text: The title "Elder" is not normally used as a personal title (e.g., Elder Evans, Elder Johnson), except by the LDS Church's general authorities, area seventies, and full-time male missionaries. Often, full-time missionaries serving within a ward are referred to by the members as "the elders."


document_title: Electrochemical cell

question_text: where does reduction take place in an electrochemical cell

text: Electrochemical cell

text: Half-cells[edit]

text: An electrochemical cell consists of two half-cells. Each half-cell consists of an electrode and an electrolyte. The two half-cells may use the same electrolyte, or they may use different electrolytes. The chemical reactions in the cell may involve the electrolyte, the electrodes, or an external substance (as in fuel cells that may use hydrogen gas as a reactant). In a full electrochemical cell, species from one half-cell lose electrons (oxidation) to their electrode while species from the other half-cell gain electrons (reduction) from their electrode.

text: A salt bridge (e.g., filter paper soaked in KNO3, NaCl, or some other electrolyte) is often employed to provide ionic contact between two half-cells with different electrolytes, yet prevent the solutions from mixing and causing unwanted side reactions. An alternative to a salt bridge is to allow direct contact (and mixing) between the two half-cells, for example in simple electrolysis of water.

text: As electrons flow from one half-cell to the other through an external circuit, a difference in charge is established. If no ionic contact were provided, this charge difference would quickly prevent the further flow of electrons. A salt bridge allows the flow of negative or positive ions to maintain a steady-state charge distribution between the oxidation and reduction vessels, while keeping the contents otherwise separate. Other devices for achieving separation of solutions are porous pots and gelled solutions. A porous pot is used in the Bunsen cell (right).

text: Equilibrium reaction[edit]

text: Each half-cell has a characteristic voltage. Various choices of substances for each half-cell give different potential differences. Each reaction is undergoing an equilibrium reaction between different oxidation states of the ions: When equilibrium is reached, the cell cannot provide further voltage. In the half-cell that is undergoing oxidation, the closer the equilibrium lies to the ion/atom with the more positive oxidation state the more potential this reaction will provide. Likewise, in the reduction reaction, the closer the equilibrium lies to the ion/atom with the more negative oxidation state the higher the potential.

text: Cell potential[edit]

text: The cell potential can be predicted through the use of electrode potentials (the voltages of each half-cell). These half-cell potentials are defined relative to the assignment of 0 volts to the standard hydrogen electrode (SHE). (See table of standard electrode potentials). The difference in voltage between electrode potentials gives a prediction for the potential measured. When calculating the difference in voltage, one must first rewrite the half-cell reaction equations to obtain a balanced oxidation-reduction equation.

text:
Reverse the reduction reaction with the smallest potential ( to create an oxidation reaction/ overall positive cell potential)
Half-reactions must be multiplied by integers to achieve electron balance.

text: Note that the cell potential does not change when the reaction is multiplied by a constant.

text: Cell potentials have a possible range of roughly zero to 6 volts. Cells using water-based electrolytes are usually limited to cell potentials less than about 2.5 volts, because the very powerful oxidizing and reducing agents that would be required to produce a higher cell potential tend to react with the water. Higher cell potentials are possible with cells using other solvents instead of water. For instance, lithium cells with a voltage of 3 volts are commonly available.

text: The cell potential depends on the concentration of the reactants, as well as their type. As the cell is discharged, the concentration of the reactants decreases and the cell potential also decreases.


document_title: Edition (book)

question_text: what does second impression mean in a book

text: Edition (book)

text: First edition[edit]

text: According to the definition of edition above, a book printed today, by the same publisher, and from the same type as when it was first published, is still the first edition of that book to a bibliographer. However, book collectors generally use the term first edition to mean specifically the first print run of the first edition (aka "first edition, first impression"). Since World War II, books often include a number line (printer's key) that indicates the print run.

text: A "first edition" per se is not a valuable collectible book. A popular work may be published and reprinted over time by many publishers, and in a variety of formats. There will be a first edition of each, which the publisher may cite on the copyright page, such as: "First mass market paperback edition". The first edition of a facsimile reprint is the reprint publisher's first edition, but not the first edition of the work itself.

text: The Independent Online Booksellers Association has a A First Edition Primer which discusses several aspects of identifying first editions including publishing and specific publishers way of designating first editions.

text: Bibliographical definition[edit]

text: The classic explanation of edition was given by Fredson Bowers in Principles of Bibliographical Description (1949). Bowers wrote that an edition is “the whole number of copies printed at any time or times from substantially the same setting of type-pages,” including “all issues and variant states existing within its basic type-setting, as well as all impressions.”

text: Publishers often use the same typesetting for the hardcover and trade paperback versions of a book. These books have different covers, the title page and copyright page may differ, and the page margin sizes may differ (same type area, smaller trim), but to a bibliographer they are the same edition.

text: From time to time, readers may observe an error in the text (or, in the days of metal type, a piece of broken type), and report these to the publisher. The publisher typically keeps these "reprint corrections" in a file pending demand for a new print run of the edition, and before the new run is printed, they will be entered.

text: The method of entry, obviously, depends on the method of typesetting. For letterpress metal, it typically meant resetting a few characters or a line or two. For linotype, it meant casting a new line for any line with a change in it. With film, it involved cutting out a bit of the film and inserting a new bit. In an electronic file, it means entering the changes digitally.

text: Such minor changes do not constitute a new edition, but introduce typographical variations within an edition, which are of interest to collectors.

text: Collectors' definition[edit]

text: A common complaint of book collectors is that the bibliographer's definition is used in a book-collecting context. For example, J. D. Salinger's The Catcher in the Rye as of 2016[update] remains in print in hardcover. The type is the same as the 1951 first printing, therefore all hardcover copies are, for the bibliographer, the first edition. Collectors would use the term for the first printing only.

text: First edition most often refers to the first commercial publication of a work between its own covers, even if it was first printed in a periodical: the complete text of Ernest Hemingway’s The Old Man and the Sea appeared in the September 1, 1952 issue of Life, yet the generally accepted “first” edition is the hardcover book Scribner’s published on September 8, 1952.

text: The term "first trade edition," refers to the earliest edition of a book offered for sale to the general public in book stores. For example, Upton Sinclair's 1906 novel The Jungle was published in two variant forms. A "Sustainers' Edition", published by the Jungle Publishing Company, was sent to subscribers who had advanced funds to Sinclair. The first trade edition was published by Doubleday, Page to be sold in bookstores.

text: Many book collectors place maximum value on the earliest bound copies of a book—promotional advance copies, bound galleys, uncorrected proofs, and advance reading copies sent by publishers to book reviewers and booksellers. It is true that these are rarer than the production copies; but given that these were not printed from a different setting of type (just the opposite; the main purpose of galleys and proofs is to double-check the typeset matter that will be used for production), they are not different editions.

text: Publishers' definition[edit]

text: Publishers use the term first edition for their own purposes, with little consistency. The "first edition" of a trade book may be the first edition by the current publisher, or the first edition with a particular set of illustrations or editorial commentary.

text: Non-fiction, academic and textbook publishers generally distinguish between revisions of the text, usually citing the dates of the first and latest editions on the copyright page. However, even this rule of thumb is sometimes bent. A new textbook with a different format, title, and authors may be called a "second edition" because a previous textbook is being counted as the first, despite being essentially a different book (sharing only the subject with the new one). This stretch of the definition is often done for its short-term marketing effect because although first editions are often considered more valuable than later editions to book collectors, a new textbook may seem more authoritative to the potential buyer if its cover or front matter implies that there have been "previous editions".

text: Other types of editions[edit]

text: Revised edition[edit]

text: The terms revised edition and nth edition, revised are sometimes used by publishers when the book has been editorially revised or updated but for some reason the author or publisher does not want to call it the n+1th edition (where n = previous edition number).

text: Conversely, they may decide to call a version that is really not very different a "new edition" (n+1th).

text: The qualitative difference, then, between a "revised edition" and a "new edition" is subjective. This is analogous to the way that software publishers may call one update "version 3.7" but call the next update "version 4" instead of "version 3.8". The difference is their subjective sense of the significance of the change—that is, whether the differences constitute something very different or merely slightly different. Sometimes the distinction has more to do with marketing than with sound reasoning (that is, encouraging buyers to think that something slightly different is very different).

text: Revised and updated edition[edit]

text: When a non-fiction book is first published it sometimes generates more research on the topic. The author may find that in the light of the new information the book needs to be revised and updated. The new edition will thus be different from the earlier one and will therefore be a new edition. The second edition may not necessarily be published by the same publisher as the original. Years may pass between the two editions.

text: Co-edition[edit]

text: The basic definition of a co-edition is when two publishing houses publish the same edition of a book (or equivalent versions of an edition, for example, translated versions), simultaneously or near-simultaneously, usually in different countries. English and American editions may differ in spelling, and they sometimes have different titles. Some examples:

text:
An English-language edition, from the same plates, films, or files, may be published in different anglophone countries by different publishing companies. For example, Arms & Armour Press in the UK and Stackpole Books in the U.S. published co-editions of various monographs on military matters.[1]
A French-language novel published in France this year by a French publisher could become an English-language translation published in the U.S. next year by a U.S. publisher.

text: The logic of co-editions has often been to use the existing distribution systems of the different publishers in each country rather than establishing new distribution systems.

text: Advancing IT and the globalization of publishing have been blurring the lines of what co-edition means. For example, anything published online is effectively published worldwide. Also, large multinational publishers now have existing distribution systems for their hardcopy books in many countries, so they don't need to partner with other companies. They may issue a book under a different imprint for each country, but the imprints are parts of the same parent corporation. The actual manufacturing of the books may be done in China regardless of where the copies will be sold.

text: e-dition[edit]

text: The term e-dition, a play on the e-for-electronic prefix, has been used by various publishers to refer to various ideas, which include:

text:
The hardcopy book's content posted online, fully searchable
Supplemental online-only content for buyers of the hardcopy book
Online-only publishing (no hardcopy distribution)
Proprietary-format digital publication (e-books) for use in specialized hardware for reading the book (e-book readers)

text: Library edition[edit]

text: A library edition may appear to be the same as copies appearing in shops and almost certainly uses the same setting. However, the binding and hinges are made extra strong to allow for the greater wear and tear in library books. This is analogous to the "police and taxi" packages for automobiles, in which heavier brakes and other upgrades are made to withstand harsher-than-standard use and longer duty cycles.

text: Book club edition[edit]

text: A popular book is sometimes re-issued under the imprint of a book club. Often it is a new setting and with cheaper paper and binding. Any photographic illustrations in the original are either absent or reduced in number. Book club editions are sold to members at a good discount compared with the original issue price.

text: Cheap edition[edit]

text: After a book has exhausted the market at the high original price a publisher may issue a cheap edition themselves or sell the rights on to another publisher who will produce the book. A cheap edition typically uses a low-cost paper and is a paperback but they can be hardback. Also typically the size of the font is reduced to fit more words on a page to reduce the overall cost of the book. Naturally, for a cheap edition the author will receive a lower royalty but that may be compensated for by a greater volume of sales.

text: Colonial edition[edit]

text: During the peak of the British Empire, cheap editions of novels published in Britain would often be produced for sale in the colonies before other editions of the books were sold. The rationale was that books took a long time to export to the colonies, that readership in those settlements was avid, and that books were an effective means to disseminate British values. Australia was by far the largest consumer of colonial editions. Macmillan (London) published the largest number of colonial edition titles. They began in 1843 and persisted (in terms of pricing and trade) until the 1970s.[2]

text: Cadet edition[edit]

text: A cadet edition is a cut down version of a book which is more simply written. It is intended for young readers rather than adults.

text: Large print edition[edit]

text: These editions are typically library editions but the font size of the text is much larger than usual so that persons with poor eyesight (often older persons) can more easily read the book. The large print books tend to be of a uniform size.

text: Critical edition[edit]

text: A critical edition is a scholarly publication, containing commentary, critique, and sometimes a full developmental history of the work from all available sources.

text: Print run[edit]

text: Each batch of copies printed is termed a print run, printing run, printing, impression, or press run. This is all of the copies produced by a single set-up of the production equipment. One edition can have any number of print runs (i.e., first edition, first impression; first edition, second impression; second edition, first impression, etc.). Poor-selling books may have only one. Very successful books may have 50 or more. Older books (before about 1970) often noted the impression number among the publishing details. However, in printmaking each individual copy of a print is described as an impression.

text: A publisher hopes to recoup a large amount of the book's initial costs from the sale of the book's first print run. A variety of commercial and logistic factors are thus considered in deciding the number of books in a print run, and their unit price.

text: Demand for additional print runs after the first is always hoped for, because they increase the book's overall profitability. Once the fixed costs of developing, editing, typesetting, etc., have been covered by the first sales revenue, any additional sales revenue tends to add to the profit margin (minus, of course, the costs of the additional materials, printing, binding, and distribution).

text: Sometimes a print run will be unsatisfactory for some reason, particularly with art and photography books where reproduction quality is paramount. It is usually destroyed by being pulped, but occasionally a defective print run may be shipped to a distant overseas market and sold there cheaply, depending on shipping costs.

text: If sales of the book do not meet expectations, the remaining stock of a print run will be remaindered. When a print run is sold out, the title is either reprinted or becomes out of print. Some print on demand and e-book publishers keep all their titles perpetually in print.

text: Seconds are imperfect or damaged copies which are set aside from a print run. These will usually have their dust jacket clipped or marked in some way.

text: From time to time, readers may observe an error in the text and report these to the publisher. The publisher typically keeps these reprint corrections in a file pending demand for a new print run of the edition, and before the new run is printed, they will be entered. This is one of the factors that puts the "substantially" into the definition of "substantially the same setting of type".

text: Republication[edit]

text: Many commercially successful books have been republished, either by their original imprints or by other imprints. This explains why if you look up a popular book title at a large bookseller such as Amazon or a large library catalog such as WorldCat, you often find an array of different copyright years, publishers, editions, formats (hardcover, softcover, trade, mass market), and so forth. The exact distinctions between "reprinting" and "republishing" and on whether a republishing is or is not a "different edition" are not policed by any universal authority, so the meaning of the terms used in any instance cannot be known at first glance.

text: Legal status[edit]

text: UK[edit]

text: Since 1956, typographical arrangements of published editions are protected by copyright law. Copyright, Designs and Patents Act 1988 defines a published edition to mean a published edition of the whole or any part of one or more literary, dramatic or musical works.[3]

text: It thus protects the publisher's investment in typesetting, as well as the processes of design and selection that are reflected in the appearance of the text.[4] It also covers modern editions of public domain works (such as the complete works of Shakespeare), and prohibits the reproduction of the layout (but not the work itself).