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Jordan River
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This article is about the river in the Middle East. For other rivers named Jordan River, see Jordan River (disambiguation).
"River Jordan" redirects here. For other uses, see River Jordan (disambiguation).
Jordan River (Hebrew: נהר הירדן, Nahar ha-Yarden
Arabic: نهر الأردن, Nahr al-Urdun)
River
Jordan River
Name origin: Hebrew: ירדן (yardén, descender) < ירד (yarad, to descend)[1]
Country
Israel, Palestine, Jordan
Regions
Middle East, Eastern Mediterranean littoral
District
Galilee
Tributaries
- left Banias River, Dan River, Yarmouk River, Zarqa River
- right Hasbani or Snir River (Lebanon and Israel), Iyyon Stream (Lebanon and Israel)
Landmarks
Sea of Galilee, Baptismal site, Dead Sea
Source
- location Anti-Lebanon Mountain Range at Mount Hermon, Golan Heights
- elevation 2,814 m (9,232 ft)
Mouth
Dead Sea
- elevation −416 m (−1,365 ft)
Length
251 km (156 mi)
The Jordan River runs along the border between the Palestinian West Bank, Kingdom of Jordan and Israel
The Jordan River (also River Jordan; Hebrew: נְהַר הַיַּרְדֵּן Nahar ha-Yarden; Arabic: نَهْر الْأُرْدُنّ Nahr al-Urdun, Ancient Greek: Ιορδάνης, Iordànes) is a 251-kilometre (156 mi)-long river in the Middle East that flows roughly north to south through the Sea of Galilee and on to the Dead Sea. Israel and the West Bank border the river to the west, while the Golan Heights and Jordan lie to its east. Both Jordan and the West Bank take their names from the river.
The river has a major significance in Judaism and Christianity. This is the site where the Israelites crossed into the Promised Land and where Jesus of Nazareth was baptised by John the Baptist.[2]
Contents
[hide]
1 Geography
1.1 Tributaries
2 History
3 Roads, border crossings, bridges
4 Importance as a water source
5 Hebrew Bible
6 New Testament
7 Cultural significance
8 See also
9 References
10 External links
Geography[edit]
River Jordan draining into the Dead Sea
The Jordan River has an upper course (from its sources to the Sea of Galilee) and a lower one (beyond the Sea of Galilee and down to the Dead Sea). In traditional terminology, the upper course (or most of it) is commonly referred to as passing through the "Hula Valley", and not the "upper Jordan Valley"; the Sea of Galilee through which the river passes is a separate entity; and the term Jordan Valley is reserved for the lower course. In this sense, the (actually in its entirety "lower") Jordan Valley may be separated into upper, central and lower Jordan Valley.
Over its upper course, the river drops rapidly in a 75-kilometre (47 mi) run to the once large and swampy Lake Hula, which is slightly above sea level. Exiting the now much diminished lake, it goes through an even steeper drop over the 25 kilometres (16 mi) down to the Sea of Galilee, which it enters at its northern end. The Jordan deposits much of the silt it is carrying within the lake, which it leaves again near its southern tip. At that point the river is situated about 210 metres below sea level. The last 120-kilometre (75 mi)-long section follows what is commonly termed the "Jordan Valley", which has less gradient (the total drop is another 210 metres) so that the river meanders before entering the Dead Sea, a terminal lake about 422 metres below sea level with no outlet. Two major tributaries enter from the east during this last section: the Yarmouk River and Zarqa River.
Its section north of the Sea of Galilee (Hebrew: כנרת Kinneret, Arabic: Bohayrat Tabaraya, meaning Lake of Tiberias) is within the boundaries of Israel, and forms the western boundary of the Golan Heights. South of the lake, it forms the border between the Kingdom of Jordan (to the east), and Israel (to the west).
Tributaries[edit]
Aerial view, 1938
The streams coming together to create the River Jordan in its upper basin are, west to east:
Iyyon (Hebrew: עיון Iyyon, Arabic: دردره Dardara or براغيث Braghith – on old PEF maps (1871–77) as Wadi el-Kharrar in the Merj 'Ayun area and Nahr Bareighit in its lower part), a stream which flows from Lebanon.
Hasbani (Arabic: الحاصباني Hasbani, Hebrew: either שניר Snir or Hatzbani), a stream which flows from Mount Lebanon[citation needed].
Dan (Hebrew: דן Dan, Arabic: اللدان Leddan), a stream whose source is also at the base of Mount Hermon.
Banias (Arabic: بانياس Banias, Hebrew: either Banias or חרמון Hermon), a stream arising from a spring at Banias at the foot of Mount Hermon.
South of the Sea of Galilee the Jordan River receives the waters of further tributaries, the main ones being
Yarmouk River
Zarqa River
Smaller tributaries in this segment are
Wadi al-Far'a
Wadi Qelt
History[edit]
In the 19th century the River Jordan and the Dead Sea were explored by boat primarily by Christopher Costigan in 1835, Thomas Howard Molyneux in 1847, William Francis Lynch in 1848, and John MacGregor in 1869.[3] The full text of W. F. Lynch's 1849 book Narrative of the United States' Expedition to the River Jordan and the Dead Sea is available online.
Colored postcard of the Jordan River, by Karimeh Abbud, circa 1925
In 1964, Israel began operating a pumping station that diverts water from the Sea of Galilee to the National Water Carrier. Also in 1964, Jordan constructed a channel that diverted water from the Yarmouk River, another main tributary of the Jordan River to the East Ghor Canal. Syria has also built reservoirs that catch the Yarmouk's waters. Environmentalists blame Israel, Jordan and Syria for extensive damage to the Jordan River ecosystem.[4]
In modern times, the waters are 70% to 90% used for human purposes and the flow is greatly reduced. Because of this and the high evaporation rate of the Dead Sea, as well as industrial extraction of salts through evaporation ponds, the sea is shrinking. All the shallow waters of the southern end of the sea have been drained in modern times and are now salt flats.
A small section of the northernmost portion of the Lower Jordan, the first ca. 3-kilometre (1.9 mi) below the Sea of Galilee, has been kept pristine for baptism and local tourism. Most polluted is the 100-kilometre downstream stretch—a meandering stream from above the confluence with the Yarmouk to the Dead Sea. Environmentalists say the practice of letting sewage and brackish water flow into the river has almost destroyed its ecosystem. Rescuing the Jordan could take decades, according to environmentalists.[4] In 2007, Friends of the Earth Middle East (FoEME) named the Jordan River as one of the world's 100 most endangered ecological sites, due in part to lack of cooperation between Israel and neighboring Arab states.[5] The same environmentalist organization had said in a report that the Jordan River could dry up by 2011 unless the decay is stopped.[6] The flow rate of the Jordan River once was 1.3 billion cubic metres per year; as of 2010, just 20 to 30 million cubic metres per year flow into the Dead Sea.[6] For comparison, the total amount of desalinated water produced by Israel by 2012 was estimated to be about 500 million cubic metres per year. Recent literature shows the role of power asymmetries and of discourses and narratives in shaping hydropolitics along the Jordan River Basin.[7]
Roads, border crossings, bridges[edit]
Rafting on Jordan River, Northern Galilee
Route 90, part of which is named after Rehavam Zeevi, connects the northern and southern tips of the Israeli-occupied West Bank and parallels the Jordan River on the western side.
There are two border crossings between Israel and Jordan which cross the river over bridges. The northern one, Jordan River Crossing or Sheikh Hussein Bridge is near Beit She'an; the southern one, Allenby Bridge (also King Hussein Bridge), is near Jericho.
From the bridges crossing the river within Israel, the most famous one is the Bnot Ya'akov Bridge (Hebrew: Gesher Bnot Ya'akov, "Daughters of Jacob Bridge").
Arik Bridge at the northern end of the Sea of Galilee; allows access to the central Golan Heights, was crucial in the 1967 and 1973 wars
Al-Sinnabra at the spot where the river used to exit the Sea of Galilee in the past; few remains excavated by archaeologists
Jisr el-Majami' north of Beit She'an/Beisan; closed
Damiya or Adam Bridge halfway between Jericho and Beit She'an; closed
Another closed bridge is the King Abdullah Bridge south of the Allenby Bridge.
Importance as a water source[edit]
The waters of the Jordan River are the second largest water resource for Israel, desalination of sea water from the Mediterranean being the first. Israel's National Water Carrier, completed in 1964, delivers water from the Sea of Galilee to the Israeli coastal plain.
Jordan receives 50,000,000 cubic metres (1.8×109 cu ft) of water from the river, a quantity which is regulated by the 1994 peace treaty with Israel.[8] This water is pumped out of the river at its exit from the Sea of Galilee and directed through a pipeline to Jordan.
Conflict about the waters of the Jordan River was a contributing factor to the Six-Day War when, starting in 1965, Syria attempted to divert some of its headwaters in collaboration with Lebanon and Jordan.[9] The diversion works would have reduced the water availability for Israel's carrier by about 35%, and Israel's overall water supply by about 11%.[10] In April 1967 Israel conducted air raids into Syria to halt this work, and two months later the Six Day War followed. The use of Jordan River's water was cited as a cause of the war by Ariel Sharon, who said,
People generally regard June 5, 1967, as the day the Six Day War began. That is the official date, but in reality it started two and a half years earlier on the day Israel decided to act against the diversion of the Jordan River.[9]
"The Children of Israel Crossing the Jordan" by Gustave Doré
Hebrew Bible[edit]
In the Hebrew Bible the Jordan is referred to as the source of fertility of a large plain ("Kikkar ha-Yarden"), said to be watered like "the garden of the LORD" (Genesis 13:10). There is no regular description of the Jordan in the Bible; only scattered and indefinite references to it are given. Jacob crossed it and its tributary, the Jabbok (the modern Al-Zarqa), on his way back from Haran (Genesis 32:11, 32:23–24). It is noted as the line of demarcation between the "two tribes and the half tribe" settled to the east (Numbers 34:15) and the "nine tribes and the half tribe of Manasseh" that, led by Joshua, settled to the west (Joshua 13:7, passim).
Opposite Jericho, it was called "the Jordan of Jericho" (Numbers 34:15; 35:1). The Jordan has a number of fords, and one of them is famous as the place where many Ephraimites were slain by Jephthah (Judges 12:5–6). It seems that these are the same fords mentioned as being near Beth-barah, where Gideon lay in wait for the Midianites (Judges 7:24). In the plain of the Jordan, between Succoth and Zarthan, is the clay ground where Solomon had his brass-foundries (1 Kings 7:46).
In biblical history, the Jordan appears as the scene of several miracles, the first taking place when the Jordan, near Jericho, was crossed by the Israelites under Joshua (Joshua 3:15–17). Later the two tribes and the half tribe that settled east of the Jordan built a large altar on its banks as "a witness" between them and the other tribes (Joshua 22:10, 22:26, et seq.). The Jordan was crossed by Elijah and Elisha on dry ground (2 Kings 2:8, 2:14). God thrived through Elisha performing two other miracles at the Jordan: God healed Naaman by having him bathe in its waters, and he made the axe head of one of the "children of the prophets" float, by throwing a piece of wood into the water (2 Kings 5:14; 6:6).
New Testament[edit]
Jordanian Christian women visiting Al-Maghtas site, 28 November 1913.
Al-Maghtas ruins on the Jordanian side of the Jordan River are the location for the Baptism of Jesus and the ministry of John the Baptist
The New Testament states that John the Baptist baptised unto repentance[11] in the Jordan (Matthew 3:5–6; Mark1:5; Luke 3:3; John1:28). These acts of Baptism are also reported as having taken place at Bethabara (John 1:28).
Jesus came to be baptised by him there (Matthew 3:13; Mark 1:9; Luke 3:21, 4:1). The Jordan is also where John the Baptist bore record of Jesus as the Son of God and Lamb of God (John 1:29–36).
The prophecy of Isaiah regarding the Messiah which names the Jordan (Isaiah 9:1–2) is also reported in Matthew 4:15.
The New Testament speaks several times about Jesus crossing the Jordan during his ministry (Matthew 19:1; Mark 10:1), and of believers crossing the Jordan to come hear him preach and to be healed of their diseases (Matthew 4:25; Mark 3:7–8). When his enemies sought to capture him, Jesus took refuge at Jordan in the place John had first baptised (John 10:39–40).
Evidence from scriptures and archaeological findings has concluded that the site called Al-Maghtas on the Jordanian side is the most accurate location for the Baptism of Jesus and the ministry of John. This has led to choosing Al-Maghtas as a UNESCO World Heritage site, which took place in 2015.[12]
Cultural significance[edit]
The Jordan is a frequent symbol in folk, gospel, and spiritual music, and in poetic and literary works.
Because, according to Jewish tradition, the Israelites made a difficult and hazardous journey from slavery in Egypt to freedom in The Promised Land, the Jordan can refer to freedom. The actual crossing is the final step of the journey, which is then complete.
Because of the baptism of Jesus, water from the Jordan is employed for the christening of heirs and princes in several Christian royal houses, such as the cases of Prince George of Cambridge, Simeon of Bulgaria[13] or James Ogilvy.[14]
The baptism of Jesus is referred to in a hymn by the reformer Martin Luther, "Christ unser Herr zum Jordan kam" (1541), base for a cantata by Johann Sebastian Bach, Christ unser Herr zum Jordan kam, BWV 7 (1724).
The Jordan River, due primarily to its rich spiritual importance, has provided inspiration for countless songs, hymns, and stories, including the traditional African-American spiritual/folk songs "Michael Row the Boat Ashore", "Deep River", and "Roll, Jordan, Roll". It is mentioned in the songs "Eve of Destruction", "Will You Be There", and "The Wayfaring Stranger" and in "Ol' Man River" from the musical Show Boat. "The Far Side Banks Of Jordan" by Johnny Cash and June Carter Cash on June's Grammy Award-winning studio album, Press On, mentions the Jordan River as well as The Promised Land. Jordan River is also the subject of roots reggae artist Burning Spear's song of the same title.[15]
See also[edit]
Islam portal
Judaism portal
Christianity portal
Jordan Rift Valley
Jordan Valley (Middle East)
Ed-Dikke synagogue
Island of Peace
Naharayim
Ænon
Baptism of Jesus
Bethabara
Steven Collins (archaeologist) 2005 to present, archaeologist in the Jordan River Valley
Fair river sharing
References[edit]
Jump up ^ Klein, Ernest, A Comprehensive Etymological Dictionary of the Hebrew Language for Readers of English, The University of Haifa, Carta, Jerusalem, p. 264
Jump up ^ "An Interfaith Look at the Jordan River". Retrieved 16 January 2017.
Jump up ^ "History of the Dead Sea - Discover the Dead Sea with Us!". 1 July 2016. Retrieved 16 January 2017.
^ Jump up to: a b Plushnick-Masti, Ramil (10 September 2006). "Raw Sewage Taints Sacred Jordan River". The Washington Post. Retrieved 10 October 2010.
Jump up ^ "Endangered Jordan", Dateline World Jewry, World Jewish Congress, September, 2007
^ Jump up to: a b "Jordan River could die by 2011: report". Retrieved 16 January 2017.
Jump up ^ Hussein, Hussam, and Mattia Grandi. "Dynamic political contexts and power asymmetries: the cases of the Blue Nile and the Yarmouk Rivers." International Environmental Agreements: Politics, Law and Economics (2017): 1-20.
Jump up ^ Susskind, Lawrence; Shafiqul Islam (2012). "Water Diplomacy: Creating Value and Building Trust in Transboundary Water Negotiations". Science & Diplomacy. 1 (3).
^ Jump up to: a b Mehr, Farhang, "The politics of water," in Antonino Zichichi, Richard C. Ragaini, eds., International Seminar on Nuclear War and Planetary Emergencies, 30th session, Erice, Italy, 18–26 August 2003, Ettore Majorana International Centre for Scientific Culture, World Scientific Publishing Co. Pie. Ltd., 2004, p. 258, 259
Jump up ^ "Appendix C: Historical review of the political riparian issues in the development of the Jordan River and basin management". Murakami. 1995.
Jump up ^ Cf. Acts 19:4
Jump up ^ Centre, UNESCO World Heritage. "Baptism Site "Bethany Beyond the Jordan" (Al-Maghtas)". Retrieved 16 January 2017.
Jump up ^ Kate Connolly, "Once upon a time in Bulgaria", The Guardian, 20 June 2001.
Jump up ^ "Baptized". Time. May 22, 1964. Retrieved 2008-03-11. water from the River Jordan was sent for the occasion;
Jump up ^ "Jah Lyrics: Burning Spear - Jordan River Lyrics". Retrieved 16 January 2017.
External links[edit]
Wikimedia Commons has media related to Jordan River.
SMART – Multilateral project for sustainable water management in the lower Jordan Valley
Inventory of Conflict and Environment (ICE), Jordan River Dispute
"Map of the River Jordan and Dead Sea: And the Route of the Party Under the Command of Lieutenant W.F. Lynch, United States Navy" is a map from the mid-19th century of the River Jordan and Dead Sea
"The Jordan River" in which John the Baptist baptized his cousin Jesus of Nazareth. (Yardenit.com)
Coordinates: 33°11′12″N 35°37′09″E / 33.18667°N 35.61917°E / 33.18667; 35.61917
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LCCN: sh85070703
ISNI: 0000 0004 0644 1982
GND: 4096627-6
SUDOC: 059298871
BNF: cb157254959 (data)
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Treaty of Allahabad
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Shah 'Alam conveying the grant of the Diwani to Lord Clive
A member of the East India Company.
The Treaty of Allahabad was signed on 12 August 1765,[1] between the Mughal Emperor Shah Alam II, son of the late Emperor Alamgir II, and Robert, Lord Clive, of the East India Company, as a result of the Battle of Buxar of 22 October 1764. The Treaty marks the political and constitutional involvement and the beginning of British rule in India.[2] Based on the terms of the agreement, Alam granted the East India Company Diwani rights, or the right to collect taxes on behalf of the Emperor from the eastern province of Bengal-Bihar-Orissa. Thus East India Company got appointed as the imperial tax collector for the Eastern province (Bengal-Bihar-Orissa). These rights allowed the Company to collect revenue directly from the people of Bengal, Bihar and Orissa. In return, the Company paid an annual tribute of twenty-six lakhs of rupees (equal to 260,000 pounds sterling) while securing for Shah Alam II the districts of Kora and Allahabad. The tribute money paid to the emperor was for the maintenance of the Emperor's court in Allahabad. The accord also dictated that Shah Alam be restored to the province of Varanasi as long as he continued to pay certain amount of revenue to the Company. Awadh was returned to Shuja-ud-Daulah, but Allahabad and Kora were taken from him. The Nawab of Awadh also had to pay fifty-three lakhs of rupees as war indemnity to the East India Company.
The Nawab of Awadh, Shuja ud Daulah, was made to pay a war indemnity of 5 million rupees to the Company. Moreover, the two signed an alliance by which the Company promised to support the Nawab against an outside attack provided he paid for services of the troops sent to his aid. This alliance made the Nawab dependent on the Company. This was a turning point in Indian history.
See also[edit]
List of treaties
References[edit]
Jump up ^ Grover, B. L.; Mehta, Alka (2014). A New Look At Modern Indian History (30th ed.). S Chand Publishing. p. 364. ISBN 9788121905329.
Jump up ^ Bhattacherje, S. B. (2009). Encyclopaedia of Indian Events & Dates. Sterling Publishers Pvt. Ltd. pp. A–96. ISBN 978-81-207-4074-7.
External links[edit]
Wikisource: Text of Allahabad Treaty

This Indian history-related article is a stub. You can help Wikipedia by expanding it.
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To the Moon and Back
From Wikipedia, the free encyclopedia
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To the Moon and Back can refer to:
"To the Moon and Back" (Savage Garden song), a 1996 single by Australian pop duo Savage Garden
To the Moon and Back (book), a 2004 Australian book co-written by Jackie French and Bryan Sullivan
To the Moon and Back, a 2016 documentary about the Russian Adoption Ban called the Dima Yakovlev Law
To the Moon and Back, a story by Etgar Keret, translated for The New Yorker in October 2016
"To the Moon and Back" (Fever Ray song), a 2017 single by Fever Ray, an alias of Swedish musician Karin Dreijer
To the Moon and Back (Karen Kingsbury book), a 2018 book written by American Christian author Karen Kingsbury
Disambiguation page providing links to articles with similar titles
This disambiguation page lists articles associated with the title To the Moon and Back.
If an internal link led you here, you may wish to change the link to point directly to the intended article.
Retrieved from "https://en.wikipedia.org/w/index.php?title=To_the_Moon_and_Back&oldid=856589360"
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Vehicle horn
From Wikipedia, the free encyclopedia
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"Klaxon" redirects here. For the English dance-punk band, see Klaxons.
"Car horn" redirects here. For the song by Common, see Car Horn (song).
A single reed bulb horn often used on bicycles.
A horn is a sound-making device that can be equipped to motor vehicles, buses, bicycles, trains, trams (a.k.a. streetcars in North America), and other types of vehicles. The sound made usually resembles a "honk". The vehicle operator uses the horn to warn others of the vehicle's approach or presence, or to call attention to some hazard. Motor vehicles, ships and trains are required by law in some countries to have horns. Like trams, trolley cars and streetcars, bicycles are also legally required to have an audible warning device in many areas, but not universally, and not always a horn.
Contents
[hide]
1 Types
1.1 Bicycle
1.2 Motor vehicles
1.3 Trains, trolleycars, trams and streetcars
1.4 Ships
2 As musical instrument
3 Klaxon
4 Regulation
5 See also
6 References
7 External links
Types[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2011) (Learn how and when to remove this template message)
Bicycle[edit]
Bicycles often have a classic bulb horn, operated by squeezing a rubber bulb attached to a metal horn. Squeezing the bulb forces air through a steel reed located in the throat of the horn, making it vibrate, producing a single note. The flaring horn matches the acoustic impedance of the reed to the open air, radiating the sound waves efficiently, making the sound louder. Other types of horns used on bicycles include battery-operated horns (sometimes even car horns on 12-volt circuits are incorporated) and small air horns powered by a small can of compressed gas.
Motor vehicles[edit]
Modern electric horns mounted in engine compartment.
Horn of Rolls Royce Phantom I Open Tourer Windovers (1926)
Oliver Lucas of Birmingham, England, developed a standard electric car horn in 1910. Car horns are usually electric, driven by a flat circular steel diaphragm that has an electromagnet acting on it in one direction and a spring pulling in the opposite direction. The diaphragm is attached to contact points that repeatedly interrupt the current to that electromagnet causing the diaphragm to spring back the other way, which complete the circuit again. This arrangement opens and closes the circuit hundreds of times per second which creates a loud noise like a buzzer or electric bell, which sound enters a horn to be amplified. There is usually a screw to adjust the distance/tension of the electrical contacts for best operation. A spiral exponential horn shape (sometimes called the "snail") is cast into the body of the horn, to better match the acoustical impedance of the diaphragm with open air, and thus more effectively transfer the sound energy. Sound levels of typical car horns are approximately 107–109 decibels, and they typically draw 5–6 amperes of current.
Horns can be used singly, but are often arranged in pairs to produce an interval consisting of two notes, sounded together; although this only increases the sound output by 3 decibels, the use of two differing frequencies with their beat frequencies and missing fundamental is more perceptible than the use of two horns of identical frequency, particularly in an environment with a high ambient noise level. Typical frequencies of a pair of horns of this design are 500 Hz and 405–420 Hz (approximately B4 and G♯4, minor third).
Some cars, and many motor scooters or motorcycles, now use a cheaper and smaller alternative design, which, despite retaining the name "horn," abandons the actual horn ducting and instead relies on a larger flat diaphragm to reach the required sound level. Sound levels of such horns are approximately 109–112 decibels, and they typically draw 2.5–5 amperes of current. Again, these horns can be either single, or arranged in pairs; typical frequencies for a pair are 420–440 Hz and 340–370 Hz (approximately G♯4–A4 and F4–F♯4) for this design.
Diagram showing how a car horn works
A horn grille is a part of some designs of car or other motor vehicle that has an electric horn, such as a motor scooter.
The radiators of modern cars no longer determine the shape of the grilles, which have become more abstract, the radiator being of different proportions from the grille and over 15 centimetres behind it. Now grilles are usually designed so the sound of a horn can readily come out through them. Those designs that echo the shape of the grille no longer have front fenders with rather large crevices that accommodate trumpet-shaped horns. Thus some cars, often British ones, have a pair of round horn grilles on either side of the radiator grille, with a horn behind each. A luxury car's horn grilles are usually chrome-plated.
Cars with rear engines, such as the Volkswagen Beetle and the early Porsches, necessarily have no radiator grilles in front, and so have horn grilles placed below their headlights. Some motor scooters have this feature as well, placed below the handlebars. Their horn grilles may be made of cheap plastic. These vehicles and the cheaper cars have only one horn.
Truck (lorry) horns may be electrically operated and similar to car horns, but are often air horns driven by air from an air compressor, which many trucks have in order to operate the air brakes. The compressor forces air past a diaphragm in the horn's throat, causing it to vibrate. Such air horns are often used as trim items, with chromed straight horns mounted on top of the cab. This design may also be installed on customised automobiles, using a small electrical compressor. Usually two or more are used, some drivers go so far as to install train horns. The frequencies vary to produce a variety of different chords, but in general are lower than those of automobile horns—125–180 Hz (approximately C₃–G₃). Sound levels are approximately 117–118 decibels.
Trains, trolleycars, trams and streetcars[edit]
Locomotive air horn, the Leslie S5T, with five "chimes"
Locomotives have train horns, which are air horns operated by compressed air from the train's air brake system. To distinguish their sound from truck air horns, train horns in the U.S. consist of groups of two to five horns (called "chimes") which have different notes, sounded together to form a chord. Trains typically cannot stop in time to avoid hitting obstructions and depend on being seen by the driver, so they rely on their horns to warn of their approach. Therefore, train horns are louder and lower in frequency than car horns, so that they can be heard at longer distances. The sound level is 146–175 dB. In the United States, train horns are required to have a minimum sound level of 96 dB and a maximum sound level of 110 dB at 100 ft in front of the train.
Most modern streetcars, trams and trolley cars including low-floor vehicles around the world also employ horns or whistles as a secondary auditory warning signal in addition to the gong/bell which either use the sound of air horns or electric automobile car horns.
Ships[edit]
Ships signal to each other and to the shore with air horns, sometimes called whistles, that are driven with compressed air or from steam tapped from the power plant. Low frequencies are used, because they travel further than high frequencies; horns from ships have been heard as far as ten miles away.[1] Traditionally, the lower the frequency, the larger the ship. The RMS Queen Mary, an ocean liner launched in 1934, had three horns based on 55 Hz (corresponding to A₁ ), a frequency chosen because it was low enough that the very loud sound of it would not be painful to the passengers.[2] Modern International Maritime Organization regulations specify that ships' horn frequencies be in the range 70–200 Hz for vessels that are over 200 meters in length.[3]
Portable air horns driven by canned compressed air are used for small craft water safety, as well as for sports events and recreational activities.
Steam whistle from a supertanker, in Merseyside Maritime Museum, UK
As musical instrument[edit]
Various types of vehicle horns are used by percussionists as sound effects, or even melodically, in musical works. For example, George Gershwin's 1928 orchestral work An American in Paris calls for the use of 4 taxi horns.[4] György Ligeti's opera Le Grand Macabre features two "Car Horn Preludes" scored for 12 bulb horns, each one tuned to a specific pitch.[5]
Klaxon[edit]
"Klaxon" redirects here. For other uses, see Klaxon (disambiguation).
Sign on rural road in United States warning drivers to "sound klaxon" (1920)
Klaxon alarm
A sample of a submarine dive alarm used by United States Navy submarines during World War II
Problems playing this file? See media help.
Klaxon is a trademark for a brand of electromechanical horn or alerting device. Mainly used on cars, trains and ships, Klaxon horns produce an easily identifiable sound, often transcribed onomatopoeiacally in English as "ahoooga." Like most mechanical horns, the klaxon has largely been replaced by solid-state electronic alarms, though the memorable tone has persisted.
The Klaxon horn's characteristic sound is produced by a spring-steel diaphragm with a rivet in the center that is repeatedly struck by the teeth of a rotating cogwheel. The diaphragm is attached to a horn that acts as an acoustic transformer and controls the direction of the sound.[6]
In the first klaxons, the wheel was driven either by hand or an electric motor. American inventor Miller Reese Hutchison (later chief engineer of Thomas Edison) patented the mechanism in 1908.[7] The Lovell-McConnell Manufacturing Co. of Newark, New Jersey bought the rights to the device and it later became standard equipment on General Motors cars.[8] Franklyn Hallett Lovell Jr., the founder, coined the name klaxon from the Ancient Greek verb klazō, "I shriek".[9]
Klaxons were first fitted to automobiles and bicycles in 1908. They were originally powered by six-volt dry cells, and from 1911 by rechargeable batteries. Later hand-powered versions were used as military evacuation alarms and factory sirens. The Klaxon is also remembered for its use as a submarine dive alarm in the Second World War.
The Klaxophone is a musical instrument that makes use of the Klaxon's unique sound.
The English company Klaxon Signals Ltd. has been based in Oldham, England, for the last eighty years,[when?] with premises also in Birmingham. The French Klaxon company was acquired by the Italian Fiamm Group in the 1990s. In 2005 Klaxon Signals sold the rights for the hooter or klaxon range to Moflash Signalling Ltd., based in the original Klaxon Factory in Birmingham, England. The Famous Klaxet ES and A1 hooter returned home to Birmingham after ten years.[citation needed]
The Moflash Company discontinued the Klaxet hooter in 2013, but continued to produce the A1 hooter, the only original Klaxon left in production.
Several languages have either borrowed or transcribed the name into their lexicons. In Japanese, the word "klaxon" (クラクション, kurakushon) refers to car horns in general, and in verb form (kurakushon suru (クラクションする)) refers to sounding the horn. This is also true in languages such as French (French: klaxon), Italian (Italian: clacson), Dutch (Dutch: claxon), Russian (Russian: клаксон), Polish (Polish: klakson), Spanish (Spanish: claxon), Romanian (Romanian: claxon), Czech (Czech: klakson), Turkish (Turkish: klakson) and Indonesian (Indonesian: klakson).
Regulation[edit]
In countries applying the Vienna Convention on Road Traffic, usage of audible warnings is limited, and allowed only in two cases[10]:
to avoid an accident;
outside built-up areas to warn a driver that he or she is about to be overtaken.
See also[edit]
Bicycle bell
Civil defense siren
Vehicle mounted siren
Vehicle mounted whistle
References[edit]
Jump up ^ "The "Voice" of the "Queen Mary" can be heard ten miles away!". Retrieved 2011-11-28.
Jump up ^ "The Funnels and Whistles". Sterling.rmplc.co.uk. Retrieved 2011-11-28.
Jump up ^ "Welcome to kockum sonics tyfon loadmaster levelmaster insonex". Kockumsonics.com. Retrieved 2011-11-28.
Jump up ^ Dr. Richard E. Rodda (11 August 2012). "The Peninsula Music Festival - 60th Season 2012 - Program Notes". Retrieved 5 December 2012.
Jump up ^ Naomi Lewin (3 June 2010). "Toot Your Horn!". WQXR.org. Retrieved 5 December 2012.
Jump up ^ "What kind of device is a Klaxon?". Retrieved 1 June 2012.
Jump up ^ Mechanically-actuated Acoustic Apparatus and Method US Patent 923,048. Applied March 14, 1908, granted May 25, 1909.
Cam-operated Horn US Patent 923,049. Applied May 16, 1907, granted May 25, 1909.
Mechanically-actuated Horn or Alarm US Patent 923,122. Applied May 16, 1907, granted May 25, 1909.
Jump up ^ "The Klaxon Warning Signal". The Horseless age: the automobile trade magazine. 21 (15). April 8, 1908. pp. 411–412. Retrieved January 16, 2011.
Jump up ^ "Signalling Methods Definitely Cared for". Automotive Industries magazine. 22. New York: Chilton company. January 13, 1910. pp. 125–126. Retrieved January 20, 2011.
Jump up ^ See Vienna Convention on Road Traffic
External links[edit]
Look up klaxon in Wiktionary, the free dictionary.
Authentic Navy Alarm Sounds
Pages from a klaxon horn adjustment manual with diagrams
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Heartbeat (novel)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Heartbeat is a 2004 children's book by Sharon Creech, published by Bloomsbury Publishing Plc. It is aimed at children aged 10 and above.
Like Love That Dog, the book is written in free verse, which alters according to both the subject and the main character's mood.
Contents
[hide]
1 Summary
2 Reception and awards
3 Editions
4 References
Summary[edit]
Twelve-year-old Annie is having a very significant year. Her mother is pregnant, her grandfather is forgetful, her best friend is always moody, and she has a new art assignment-draw an apple each day for one hundred days.
Reception and awards[edit]
Adèle Geras of The Guardian gave the novel a positive review, praising its ability to get straight to the point, and commented that although "verse novels are risky", Creech's verse "will encourage young readers to put their own emotions into words precisely because the form is so much less daunting than thickets of dense prose."[1]
Heartbeat was nominated for the 2005 Carnegie Medal.
Editions[edit]
ISBN 0-7475-6902-9, hardback, 2004
ISBN 0-7475-7147-3, paperback, 2005
References[edit]
Jump up ^ https://www.theguardian.com/books/2004/jun/05/featuresreviews.guardianreview28
[hide]
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The works of Sharon Creech
Absolutely Normal Chaos
Walk Two Moons
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Fishing in the Air
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A Fine, Fine School
Ruby Holler
Granny Torrelli Makes Soup
Heartbeat
Replay
Who's That Baby
The Castle Corona
Hate That Cat
The Unfinished Angel

This article about a children's novel of the 2000s is a stub. You can help Wikipedia by expanding it.
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See guidelines for writing about novels. Further suggestions might be found on the article's talk page.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Heartbeat_(novel)&oldid=798775412"
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I Am Woman
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For the song by Jordin Sparks, see I Am Woman (Jordin Sparks song). For the song by Barbra Streisand, see I Am Woman (Barbra Streisand song).
"I Am Woman"
Cover of the 1972 German single
Single by Helen Reddy
from the album I Am Woman
B-side
"More Than You Could Take"
Released
May 1972
Format
7"
Recorded
1972
Genre
Pop
Length
3:04
Label
Capitol
Songwriter(s)
Ray Burton, Helen Reddy
Producer(s)
Jay Senter
Helen Reddy singles chronology
"No Sad Song"
(1972) "I Am Woman"
(1972) "Peaceful"
(1973)
"No Sad Song"
(1972) "I Am Woman"
(1972) "Peaceful"
(1973)
"I Am Woman" is a song written by Australian-American artist Helen Reddy and singer-songwriter Ray Burton. Performed by Reddy, the first recording of I Am Woman appeared on her debut album I Don't Know How to Love Him, released in May 1971, and was heard during the closing credits for the 1972 film Stand Up and Be Counted. A new recording of the song was released as a single in May 1972 and became a number one hit later that year, eventually selling over one million copies. The song came near the apex of the counterculture era[1] and, by celebrating female empowerment, became an enduring anthem for the women’s liberation movement.
Contents
[hide]
1 Inspiration for the song
2 Collaboration with Ray Burton
3 The making of the single
4 Success
5 The song's impact
6 Fallout with Burton
7 In popular culture
8 Chart performance
8.1 Weekly charts
8.2 Year-end charts
9 Other versions
10 References
11 External links
Inspiration for the song[edit]
After securing a recording contract in 1971 with Capitol Records that yielded the hit "I Don't Know How to Love Him", Reddy – then living in Los Angeles – was asked for an album. She gave the label a set of 10 jazz-tinged pop songs. Nestled among the Leon Russell, Graham Nash and Van Morrison songs were two Reddy and Burton originals. "I Am Woman" was one of them. The composition was the result of Reddy’s search for a song that would express her growing passion for female empowerment. In a 2003 interview in Australia’s Sunday Magazine (published with the Sunday Herald Sun and Sunday Telegraph),[2] she explained:
I couldn't find any songs that said what I thought being woman was about. I thought about all these strong women in my family who had gotten through the Depression and world wars and drunken, abusive husbands. But there was nothing in music that reflected that.
The only songs were 'I Feel Pretty' or that dreadful song 'Born A Woman'. (The 1966 hit by Sandy Posey had observed that if you're born a woman "you're born to be stepped on, lied to, cheated on and treated like dirt. I'm glad it happened that way".) These are not exactly empowering lyrics. I certainly never thought of myself as a songwriter, but it came down to having to do it.
Reddy’s own long years on stage had also fueled her contempt for men who belittled women, she said. "Women have always been objectified in showbiz. I'd be the opening act for a comic and as I was leaving the stage he'd say, 'Yeah, take your clothes off and wait for me in the dressing room, I'll be right there'. It was demeaning and humiliating for any woman to have that happen publicly."
Reddy credits the song as having supernatural inspiration. She said: "I remember lying in bed one night and the words, 'I am strong, I am invincible, I am woman', kept going over and over in my head. That part I consider to be divinely inspired. I had been chosen to get a message across." Pressed on who had chosen her, she replied: "The universe." The next day she wrote the lyric and handed it to Australian guitarist Ray Burton to put it to music.
Collaboration with Ray Burton[edit]
Burton, 26 at the time and playing in Los Angeles with Australian rock band The Executives (and later the founding member of Ayers Rock), was a friend who had often worked with Reddy in live venues across Australia. He has a different recollection of the song's beginning. He told Sunday Magazine he spoke to Reddy after she hosted a series of regular women's meetings at which he says they would "sit around and whine about their boyfriends".
I said to Helen, 'If you're so serious about the whole thing, why don't you jot down some lyrics and I'll make it a song?' And that's pretty much what happened. She gave me lyrics scribbled down on a piece of paper and I went home that Sunday night and wrote the whole song in about three hours. Her lyrics were more in prose or poetic form, so I rewrote a few bits of it. I had a bit of a melody in my head anyway, so I reconstructed it, then moulded the lyrics to fit that melody. I did a demo on x Revox reel-to-reel tape. She really liked it and she recorded it on an album for Capitol Records. I never thought of it as being one of my better songs. It had commercial potential and I knew the women's lib thing was bubbling and coming to the boil in the U.S.A.. The life of a songwriter from Australia in Los Angeles was not very lucrative, so I figured it was a way to make a few dollars and up the quality of my life. I had a hunch that it was bound to be a hit. Then it went on the Capitol album and just sat there as a "sleeper" and I thought, 'Well, maybe I was wrong'.[2]
Reddy insists Burton didn't change a word of the lyrics.[2]
The making of the single[edit]
Reddy had no expectations for the track. "It clearly was not hit-single material and got no airplay at all. I used it as an opening song whenever I performed live, and it was always well received: I also noticed that the song was being singled out for mention in fan mail."[3] But more than a year later, the song was picked to run behind the opening credits of Stand Up and Be Counted, a lightweight Hollywood women's lib comedy starring Jacqueline Bisset, Loretta Swit and Steve Lawrence. "The decision-makers at Capitol Records thought that, in case the film was a hit, they should release "I Am Woman" as a single."[4] In its initial form, the original version ran to little more than two minutes, so Reddy was asked to write an additional verse and chorus. The extra verse inserted the song's only reference to men ("Until I make my brother understand").
Reddy told Sunday Magazine she remembered nothing of the second recording session and did not know which musicians played on the song. In fact, she had some of the best LA session musicians backing her:[2]
Mike Deasy: guitar
Jim Horn: woodwind; strings and horns arrangement
Jim Gordon: drums
Michael Melvoin: piano
Leland Sklar: bass
Dick "Slide" Hyde: trombone
Don Menza: saxophone
Kathy Deasy (whose credits included Johnny Rivers, Kenny Loggins and The Byrds): backup vocals
Producer Jay Senter assembled the rhythm section at SunWest Studios for a 7 p.m. downbeat (start) but since he had planned on tracking without Reddy, she was not told to arrive until 9 p.m. Reddy and (then) husband Jeff Wald arrived thinking they were going to track (record) live with the band, but Senter and the band had already recorded the track as well as its intended B-side "Don't Mess with a Woman". Wald and Reddy were furious in the control room. Senter was clearly not happy, either, and voices were raised, however, he did not quit the project. Reddy put her voice on the track that Senter produced, and she and Wald left the studio. That release triggered a five-figure payment to Reddy, which at the time was sorely needed, according to Wald.[citation needed]
Immediately after that, guitarist Deasy played the riff on his 12-string electric guitar that became the signature sound for the song. Senter then asked friend and noted sax man Jim Horn to write string and horn charts to be recorded the following week, while Senter went into the studio with Clydie King, Venetta Fields and Shirley Matthews (the Blossoms) and layered the background vocals.
Success[edit]
As it turned out, "it was the original recording of 'I Am Woman' that was featured on the soundtrack" of the film, which "opened and closed the same week"[3] in May 1972.[5] The new recording of the song was released as a single on the 22nd of the month,[6] and Wald – who had worked the phones for 18 hours a day urging radio stations to play "I Don't Know How to Love Him" – again put his formidable promotional skills to use. He lined up gigs for Reddy – by now heavily pregnant with son Jordan – to sing on 19 TV talk and variety shows, and "women began calling radio stations and requesting the song, thereby forcing airplay."[7]
Despite the chord it was striking with television viewers, the song's trek to the top of the charts was still a long, hard climb. It first entered the Billboard Hot 100 at number 99 in the issue of the magazine dated June 24, 1972,[8] peaked at number 97 two weeks later,[9] fell off the Hot 100, re-entered at number 87 two months later in the September 16 issue,[10] and reached number one three months later, in the December 9 issue.[11]
"I Am Woman" was the first number one single for Capitol Records since "Ode to Billie Joe" by Bobbie Gentry five years earlier, in 1967.[12] It was the first number one hit on the Billboard chart by an Australian-born artist and the first Australian-penned song to win a Grammy Award (in her acceptance speech for Best Female Performance, Reddy thanked "God, because She makes everything possible").It also became the second Helen Reddy hit – after "I Don't Know How to Love Him" – to peak at number two in her native Australia. Overlooked in its original UK release, "I Am Woman" was given a 1975 reissue to serve as the follow-up to Reddy's number five UK hit "Angie Baby" but did not gain enough momentum to reach the UK Top 50.
The song's impact[edit]
In the year that Gloria Steinem's Ms. magazine was launched in the US and Cleo in Australia, the song quickly captured the imagination of the burgeoning woman's movement. National Organization for Woman founder Betty Friedan was later to write that in 1973, a gala entertainment night in Washington DC at the NOW annual convention closed with the playing of "I Am Woman". "Suddenly," she said, "woman got out of their seats and started dancing around the hotel ballroom and joining hands in a circle that got larger and larger until maybe a thousand of us were dancing and singing, 'I am strong, I am invincible, I am woman.' It was a spontaneous, beautiful expression of the exhilaration we all felt in those years, woman really moving as woman."[13]
Betty Friedan, 1960
To Reddy, the song's message reaches beyond feminism. "It's not just for women," she said. "It's a general empowerment song about feeling good about yourself, believing in yourself. When my former brother-in-law, a doctor, was going to medical school he played it every morning just to get him going." In 2002, however, she said, "I had no idea what the song was destined to become. If I'd known, I would have been far too intimidated to have written it."[2]
The song brought greater exposure to Reddy, paving the way for a succession of hit singles. It also generated tremendous wealth, which the couple flaunted with a gaudy lifestyle of mansions, limousines, jewelry and speedboats. In her tell-all Hollywood book, You'll Never Eat Lunch in This Town Again, Julia Phillips claimed that by the time the couple completed their acrimonious divorce in 1982 they had blown most of the $40 million they had made.[14]
When Reddy’s performance of the song at the 1981 Miss World contest infuriated feminists, she responded: "Let them step forward and pay my rent and I'll stay home. What I'm doing is advertising a product I wouldn't use."[15][16]
Reddy had been quoted as saying, "To this day I get mail from women who say, I went to law school because of your song. But I would hate to think out of the wide spectrum of things I have done in my career, that's all I would be remembered for."[17] But in her autobiography, The Woman I Am : A Memoir, she recalls a 2000 encounter with a friend's high-school-aged nephew who said that "in his assigned Modern American History textbook, in a section on the rise of feminism in the 70s, I was mentioned along with the printed lyrics to 'I Am Woman'."[18] It became her excuse for what, in 2002, she called her retirement: "I thought, 'Well, I'm part of history now. And how do I top that? I can't top that.' So, it was an easy [decision to stop singing]."[19] But in a 2014 interview celebrating her return to the stage, Ernie Manouse asked about the song, "Ever regret it because it's so iconic? Does it overshadow everything else? Because people forget how many hit songs you had, and yet this song becomes so big. Is it ever too much to have on your back?" Reddy begins, "No, no," and after a pause says, "I'm proud of it."[20]
The song's opening line, "I am woman, hear me roar" has become widely referenced in media. In a 1975 episode of The Carol Burnett Show, guest Jean Stapleton played a feminist who proudly announces, "I am woman!" to which Harvey Korman's character replies, "I know. I heard your roar."[21] During the 2000 Republican presidential campaign of Elizabeth Dole one GOP consultant complained that, "she has to have a message beyond 'I am woman, hear me roar.'"[22]
A biopic of Reddy's life, titled after the song, was announced in mid-2016 with Unjoo Moon as director.[23]
Fallout with Burton[edit]
Expelled from the US in 1971 because of work-permit problems, Ray Burton watched the song's rise in the US from a distance. Burton ended up living on unemployment benefits. "It could have been the launching pad for a writing and singing career," he said. "They took advantage of the fact I wasn't there."
He claimed he was forced to take legal action against the singer in 1998 to recover a portion of songwriter royalties that had been withheld from him since 1972. He said: "I got some money out of it, but nothing like it would have been in the '70s when it was riding high."
Reddy disputes Burton's claims. "There was a buyout 25 or 30 years ago," she told Sunday Magazine. "Neither of us had any idea the song would become what it became. About 10 years ago he got in touch with me because he was in financial difficulties. I felt sorry for him and reinstated his songwriter royalties. His passport problems ended any hope he had of a career in the States and somehow that bitterness got transferred to me. I wish him well. I bear him no animosity."[2]
Today he performs again in venues on the Queensland Gold Coast, where he lives. Sometimes he includes it in his set, raising a laugh from audiences by saying, "Here's a song I wrote in the '70s, with a twist." He sings it as, "She is woman, hear her roar".
In popular culture[edit]
"I Am Woman" has been used in TV commercials for a sports footwear chain and a female-oriented cable TV network, but a pitch about 2003 by Coors beer ("with a gigantic amount of money", Reddy says) was rebuffed. "I'm not in the drug-dealing business," she says. "I don't care how much money they offer me."[2] In 2006 Burger King featured a lyrically adjusted version of "I Am Woman" for a commercial titled "Manthem" extolling the virtues of large burgers over small "chick food" plates.[24][25]
During the Audience Talent Show Night segment of the episode of Late Show with David Letterman dated April 20, 1995, Reddy was seated in the back of the audience and asked by Letterman what her talent was. She replied, "Hit it, Paul," as she took the mike from Letterman's hand and began singing "I Am Woman." The audience responded enthusiastically as the host cut to a commercial, but Reddy interrupted at several points throughout the show in different locations to break into her signature song: first in the window behind Letterman's desk and then during an interview with Nicolas Cage, a supposed commercial, and a performance by Blues Traveler. Whenever the music cut off and she was dismissed from the stage, she would always smile, wave and say, "Thank you."[26]
Reddy's description of the "typical DJ reaction" to the song is quoted in The Billboard Book of Number One Hits: 'I can't stand this record! I hate this song! But you know, it's a funny thing, my wife loves it!'[27]
The Arrogant Worms had a parody of the song known as I am Cow. [28]
Chart performance[edit]
Weekly charts[edit]
Chart (1972-73)
Peak
position
Australia Kent Music Report 2
Canada RPM Top Singles 1
U.S. Billboard Hot 100[29] 1
U.S. Billboard Adult Contemporary 2
U.S. Cash Box Top 100 1
Year-end charts[edit]
Chart (1972)
Rank
Australia [30] 13
Canada [31] 42
U.S. Billboard --
U.S. Cash Box --
U.S. (Joel Whitburn's Pop Annual) [32] 14
Other versions[edit]
"I Am Woman" was a minor C&W hit for Bobbie Roy who like Reddy was on the Capitol Records roster; Roy's version of "I Am Woman" reached #51 on the C&W chart in February 1973. Also in 1973 "I Am Woman" was covered by R&B singer Betty Wright on her Hard to Stop album and also by Easy Listening veteran Eydie Gorme as a solo track on Feelin' an album which was overall a duets project with Gorme's husband Steve Lawrence who had starred in Stand Up & Be Counted.
In the 19th episode of the 4th season of Maude in 1976, Beatrice Arthur, Rue McClanahan, and Adrienne Barbeau did a cover of the song called "We are Woman".
In 1979 pianist Paul Weston and vocalist Jo Stafford recorded "I Am Woman" in the guise of the untalented lounge act Jonathan & Darlene Edwards: this version was released as a single which also featured a cover of the Bee Gees' "Stayin' Alive" with both songs delivered in classic "Jonathan & Darlene" mode with off notes, shifting tempo and style, and mismatched percussion.
"I Am Woman" was also remade by Jessica Williams as a dance track featured in the 1999 film, Trick and was covered by The Dan Band on their CD The Dan Band Live inspiring a one-hour music special by the group, Dan Finnerty & The Dan Band: I Am Woman.
Tanya Stephens covered the song on her album Gangsta Blues in 2004
An instrumental arrangement of the song was played at the 82nd Academy Awards as the exit music for Kathryn Bigelow after she won the Best Director Oscar for the 2009 film The Hurt Locker,[33] the first time a woman won the award.[34]
The soundtrack for Sex and the City 2 features a performance of "I Am Woman" as sung in film by its stars Sarah Jessica Parker, Kim Cattrall, Kristin Davis, and Cynthia Nixon in the 2010 film Sex and the City 2.
In 2015, a version was released by ABC Music for Judith Lucy's TV series Judith Lucy Is All Woman with numerous Australian female artists; Deborah Conway, Ella Hooper, Vika and Linda Bull, Kylie Auldist, Bertie Blackman, Liz Stringer, Lisa Miller, Jen Cloher, Monique Brumby, Angie Hart, Justine Clarke, Rebecca Barnard, Evelyn Morris, Antonia Sellbach & Karla Way.[35]
References[edit]
Jump up ^ Perrone, James E. (2004). Music of the Counterculture Era. Greenwood Publishing Group. p. 85. ISBN 0-313326-89-4.
^ Jump up to: a b c d e f g "The Anthem and the Angst", Sunday Magazine, Melbourne Sunday Herald Sun/Sydney Sunday Telegraph, June 15, 2003, Page 16.
^ Jump up to: a b Reddy, Helen (2006). The Woman I Am: A Memoir. Penguin Group. p. 146. ISBN 1-58542-489-7.
Jump up ^ Reddy, Helen (2006). The Woman I Am: A Memoir. Penguin Group. p. 145. ISBN 1-58542-489-7.
Jump up ^ "Stand Up and Be Counted (1972)". imdb.com. Amazon.com. Retrieved 22 May 2015.
Jump up ^ (2006) The Woman I Am: The Definitive Collection by Helen Reddy [CD booklet]. Los Angeles: Capitol Records 09463-57613-2-0.
Jump up ^ Reddy, Helen (2006). The Woman I Am: A Memoir. Penguin Group. p. 147. ISBN 1-58542-489-7.
Jump up ^ "Billboard Hot 100". Billboard. 1972-06-24. p. 66.
Jump up ^ "Billboard Hot 100". Billboard. 1972-07-08. p. 56.
Jump up ^ "Billboard Hot 100". Billboard. 1972-09-16. p. 50.
Jump up ^ "Billboard Hot 100". Billboard. 1972-12-09. p. 48.
Jump up ^ "Reddy Powers Capitol Push". Billboard. 1972-12-09. p. 4.
Jump up ^ Friedan, Betty (1976). It Changed My Life: Writings on the Women's Movement. Random House, Inc., p. 257 ISBN 0-674-46885-6
Jump up ^ Phillips, Julia (1991). You'll Never Eat Lunch in This Town Again. Random House, Inc. p. 409. ISBN 0-394-57574-1.
Jump up ^ "Reddy to sing for the rent", Sunday Telegraph (Sydney), November 13, 1981
Jump up ^ "Helen still believes, it's just that she has to pay the rent too", by John Burns of the Daily Express, reprinted in Melbourne Herald, December 16, 1981
Jump up ^ "Helen Reddy Quotes". BrainyQuote.com. Xplore, Inc. Retrieved 17 May 2015.
Jump up ^ Reddy, Helen (2006). The Woman I Am: A Memoir. Penguin Group. p. 321. ISBN 1-58542-489-7.
Jump up ^ "Singer Helen Reddy emerges from retirement". cbsnews.com. CBS Interactive Inc. Retrieved 17 May 2015.
Jump up ^ InnerVIEWS with Ernie Manouse. October 3, 2014. PBS.
Jump up ^ The Carol Burnett Show. Season 8. Episode 23. March 29, 1975. CBS.
Jump up ^ Waldman, Tom (2003). We All Want to Change the World: Rock and Politics from Elvis to Eminem. Taylor Trade Publishing. p. 197. ISBN 1-58979-019-7.
Jump up ^ Gary Maddox (2016-05-18). "Short Cuts: Singer Helen Reddy's trailblazing life to become a film in I Am Woman". Sydney Morning Herald.
Jump up ^ "Archived copy". Archived from the original on 2007-09-29. Retrieved 2006-05-30.
Jump up ^ [1][dead link]
Jump up ^ Late Show with David Letterman. Season 2. Episode 144. April 20, 1995. CBS.
Jump up ^ Bronson, Fred (2003). The Billboard Book of Number One Hits. Billboard Books. p. 324. ISBN 0823076776.
Jump up ^ http://www.metrolyrics.com/i-am-cow-lyrics-arrogant-worms.html
Jump up ^ [Joel Whitburn's Top Pop Singles 1955-2002]
Jump up ^ "Australian Chart Book". Austchartbook.com.au. Archived from the original on 2016-03-05. Retrieved 2016-10-07.
Jump up ^ "Item Display - RPM - Library and Archives Canada". Collectionscanada.gc.ca. Retrieved 2016-10-07.
Jump up ^ Whitburn, Joel (1999). Pop Annual. Menomonee Falls, Wisconsin: Record Research Inc. p. 380. ISBN 0-89820-142-X.
Jump up ^ "82nd Academy Awards". Academy Awards. 7 March 2010. ABC.
Jump up ^ "Kathryn Bigelow - Awards". imdb.com. Amazon.com. Retrieved 22 May 2015.
Jump up ^ "I am Woman - Music from TV show". iTunes Australia. Archived from the original on 3 April 2015. Retrieved 25 March 2015.
External links[edit]
Ray Burton website
Poems by Flying Lemming
Listen to an excerpt of 'I am Woman' on australianscreen online
'I am Woman' was added to the National Film and Sound Archive's Sounds of Australia registry in 2009
Lyrics of this song at MetroLyrics
Preceded by
"Papa Was a Rollin' Stone" by The Temptations Billboard Hot 100 number one single
December 9, 1972 (one week) Succeeded by
"Me and Mrs. Jones" by Billy Paul
[show]
v
t
e
Helen Reddy
Studio albums
I Don't Know How to Love Him
Helen Reddy
I Am Woman
Long Hard Climb
Love Song for Jeffrey
Free and Easy
No Way to Treat a Lady
Music, Music
Ear Candy
We'll Sing in the Sunshine
Reddy
Take What You Find
Play Me Out
Imagination
Feel So Young
Center Stage
The Best Christmas Ever
Live albums
Live in London
Compilations
Helen Reddy's Greatest Hits
All-Time Greatest Hits
The Best of Helen Reddy
I Am Woman: The Essential Helen Reddy Collection
Absolutely the Best of Helen Reddy
The Woman I Am: The Definitive Collection
Rarities from the Capitol Vaults
Singles
"One Way Ticket"
"I Don't Know How to Love Him"
"Crazy Love"
"I Am Woman"
"Peaceful"
"Delta Dawn"
"Leave Me Alone (Ruby Red Dress)"
"Keep On Singing"
"You and Me Against the World"
"Angie Baby"
"Emotion"
"Ain't No Way to Treat a Lady"
"Somewhere in the Night"
"I Can't Hear You No More"
"You're My World"
"Candle on the Water"
"We'll Sing in the Sunshine"
Related articles
Discography
Toni Lamond
Tony Sheldon
"Voices That Care"
Book:Helen Reddy
[show]
v
t
e
Monique Brumby
Studio albums
Thylacine (1997)
Signal Hill (2002)
Into the Blue (2006)
Skeletons' Polka (2010)
Monique Brumby (2014)
Extended plays
Eventide (1998)
Singles
"Fool for You"
"Mary"
"The Change in Me"
"I Am Woman" (with Judith Lucy)
Related topics
Paul Kelly
Tasmanian of the Year
ARIA Music Awards (1996), (1997), (1998)
[show]
v
t
e
Deborah Conway
Studio albums
String of Pearls (1991)
Bitch Epic (1993)
My Third Husband (1997)
Exquisite Stereo (2000)
PC: The Songs of Patsy Cline (2001)
Summertown (2004)
Other albums
Seven Deadly Sins (1993)
Extended plays
Epic Theatre (1994)
Compilation albums
Only the Bones – Deborah Conway's Greatest Hits (2002)
Singles
"It's Only the Beginning"
"Under My Skin"
"Release Me"
"I Am Woman"
Television & Film
Hard Knocks (1980)
Running on Empty (1982)
The Coca-Cola Kid (1985)
Prospero's Books (1991)
Diana & Me (1997)
Theatre
The Iron Man: The Musical by Pete Townshend (1989)
Related topics
Do-Ré-Mi
ARIA Music Awards of 1992
Queensland Music Festival
Retrieved from "https://en.wikipedia.org/w/index.php?title=I_Am_Woman&oldid=830988320"
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