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SSE Hydro
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SSE Hydro
The Hydro
Former names
Scotland's National Arena (planning)
Scottish Hydro Arena (construction)
Address
Exhibition Way
SEC
Glasgow
G3 8YW
Location
Glasgow, Scotland
Coordinates
55°51′37″N 4°17′06″W / 55.860297°N 4.284926°W / 55.860297; -4.284926Coordinates: 55°51′37″N 4°17′06″W / 55.860297°N 4.284926°W / 55.860297; -4.284926
Public transit
Exhibition Centre railway station
Owner
SEC Ltd
Operator
AEG Live
Capacity
13,000
Construction
Broke ground
February 2011
Built
2011–13
Opened
30 September 2013 (2013-09-30)
Construction cost
£125 million
Architect
Foster and Partners
Project manager
Turner & Townsend
Structural engineer
Arup Group Limited
General contractor
Lend Lease
Website
www.thessehydro.com
The SSE Hydro is a multi-purpose indoor arena located within the Scottish Event Campus in Glasgow, Scotland. The arena was initially named The Hydro after its main sponsor, energy company Scottish & Southern Energy subsidiary Scottish Hydro. The company then re-branded itself and its subsidiary companies as SSE, however the Hydro name was retained despite it no longer being a trading name. The arena was designed by the London-based architects Foster + Partners and officially opened on 30 September 2013, with a concert by Rod Stewart.[1]
Within 3 years of opening, the SSE Hydro became the eighth-busiest venue worldwide. The arena handled 751,487 ticket sales making it the eighth-busiest music arena in the world in terms of ticket sales. It also hosted the UFC's first event in Scotland – an event which was impossible to hold in any other arena in the country. [2]
Contents
1 Background
2 Construction
2.1 Fire
3 Entertainment
4 Sports
5 Politics
6 References
7 External links
Background[edit]
The SECC identified the need for a new arena in which sports and other public events could be held. Previously, such events were held in Concert Hall 4, in the SECC main building. However, the SECC audience capacity is limited, seating just over 10,000. Therefore, it is unable to accommodate the high attendance typically associated with large-scale performance events, such as rock concerts and children’s shows. The new SSE Hydro arena is located adjacent to the SEC Centre and the SEC Armadillo and hosts international musical stars, global entertainment and sporting events; with a capacity of 13,000 and aims to attract one million visitors each year.[1]
World's Busiest Arenas – 2017[3]
Venue
2017 Ticket sales for concerts/shows
The O2 Arena, London, England, UK 1,443,232
Madison Square Garden, New York, USA 1,167,544
Manchester Arena, Manchester, England, UK 1,072,079
The SSE Hydro, Glasgow, Scotland, UK 1,028,934
Barclays Center, Brooklyn, USA 936,794
Lanxess Arena, Cologne, Germany 931,394
Arena Monterrey, Monterrey, Mexico 906,290
Mexico City Arena, Mexico City, Mexico 881,665
The Forum, Inglewood, U.S. 790,728
WiZink Center, Madrid, Spain 784,699
Construction[edit]
Translucent cushions being installed, July 2013.
Planning for the SSE Hydro began some time in 2001 as the second redevelopment of the Queens Dock in Glasgow. By 2003, a plan had been unveiled for a £125 million entertainment arena, holding 12,000 seated audience members and 1,000 standing. London-based architects Foster and Partners were appointed as the design team for the Hydro by 2004 with Glasgow-based Elphinsone additionally appointed as the preferred developer for the site. The design of the arena was finally released to the press by 2005, and the SECC gained full planning consent for the arena by 2006. Construction for the arena finally began in February 2011 by construction company Lend Lease. By November 2011, building work for the roof of the arena had begun, which was completed by April 2013. The arena's signature translucent outer cushions were installed in May 2013, along with the seating inside of the arena, marking construction of the arena completed, taking two years to complete.[4]
Fire[edit]
At approximately 3:20 pm on 8 June 2013,[5] flames were reported to be coming from the domed roof of the partially completed building.[6] Forty fire fighters from the Scottish Fire and Rescue Service attended the blaze.[7] It was determined that the fire was caused by ongoing welding work on the building's roof.[8][9] On 18 June, the venue's operator revealed that despite additional challenges, work on the venue was still on track.[10]
Entertainment[edit]
Main article: List of entertainment events at The SSE Hydro
Sports[edit]
The SSE Hydro in October 2013
On 14 December 2014 the BBC Sports Personality of the Year Award ceremony was held at the venue.[11] During the 2014 Commonwealth Games the SSE Hydro was home to the netball and gymnastic events.[12] On 18 July 2015 the UFC held their inaugural Scottish event UFC Fight Night: Bisping vs. Leites at the Hydro.[13] From 23 October to 1 November 2015 the SSE Hydro hosted the Artistic gymnastics world championships.[14] The SSE Hydro also hosted the first ever episode of Monday Night Raw to take place in Scotland.
Politics[edit]
The SSE Hydro was host to the largest televised debate seen in Scotland's history, Scotland Decides: The Big, Big Debate, held on 11 September 2014 towards the end of the Scottish independence referendum, 2014 campaign. The Mentorn/BBC Scotland organised debate, in which every secondary school in Scotland was invited to take part, involved around 7,500 first time voters and was broadcast on BBC One during the evening of 11 September 2014[15] and was presented by James Cook.[16]
References[edit]
^ Jump up to: a b "Timeline". SSE Hydro Official Website. Retrieved 12 September 2009.
Jump up ^ "Pollstar 2016 top 200 arena ticket sales" (PDF).
Jump up ^ "TOP 200 ARENA VENUES 2017" (PDF). 31 December 2017.
Jump up ^ "Timeline". thessehydro.com. Retrieved 2016-02-10.
Jump up ^ "Fire hits city's £125m Hydro venue". paisleydailyexpress.co.uk. Paisley Daily Express. 8 June 2013. Retrieved 8 June 2013.
Jump up ^ "Glasgow Hydro fire: Crews tackle blaze in domed roof". bbc.co.uk. BBC News. 8 June 2013. Retrieved 8 June 2013.
Jump up ^ "Firefighters tackle blaze at Hydro concert venue on the River Clyde". news.stv.tv. STV. 8 June 2013. Retrieved 8 June 2013.
Jump up ^ "Welder's torch blamed for starting huge fire at Glasgow's new £125m Hydro arena". dailyrecord.co.uk. Daily Record. 9 June 2013. Retrieved 18 June 2013.
Jump up ^ "Glasgow Hydro fire: Blaze caused by welding sparks". bbc.co.uk. BBC News. 10 June 2013. Retrieved 18 June 2013.
Jump up ^ "Glasgow Hydro venue construction 'remains on target' despite fire". thecourier.co.uk. The Courier. 18 June 2013. Retrieved 18 June 2013.
Jump up ^ "BBC Sports Personality 2014: Shortlisted named for award". BBC. BBC. Retrieved 14 December 2014.
Jump up ^ "SSE Hydro confirmed as host venue for Games Netball Final". Glasgow 2014. Retrieved 2016-02-10.
Jump up ^ "UFC Fight Night: Bisping vs. Leites". UFC. Retrieved 2016-02-10.
Jump up ^ "The SSE Hydro – 2015 World Gymnastics Championships". www.2015worldgymnastics.com. Retrieved 2016-02-10.
Jump up ^ Taylor, Marianne; Fraser, Graham; Sayers, Louise; Currie, Martin (11 September 2014). "Referendum Live – as it happened". BBC News (Scotland), n.d. BBC. Retrieved 14 September 2014.
Jump up ^ "Scottish independence: Plans announced for Scotland's 'biggest ever debate'". BBC News. Retrieved 23 June 2014.
External links[edit]
Wikimedia Commons has media related to The SSE Hydro.
Official website
Glasgow 2014 Venue page
Arena Page at Foster + Partners website
The Hydro Arena page at Clyde Waterfront website
Venue Fact Sheet
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Indoor arenas in the United Kingdom by capacity
Manchester Arena (21,000)
The O2 Arena (20,000)
Genting Arena (16,000)
Arena Birmingham (15,800)
FlyDSA Arena (13,600)
First Direct Arena (13,500)
SSE Arena, Wembley (12,500)
Bristol Arena (12,000) (proposed)
SSE Hydro (13,000)
Echo Arena Liverpool (11,000)
Metro Radio Arena (11,000)
SSE Arena (10,800)
SEC Concert Hall 4 (10,000)
Motorpoint Arena Nottingham (10,000)
Manchester Central Hall (9,000)
BHGE Arena (8,500)
Copper Box Arena (7,500)
Motorpoint Arena Cardiff (7,500)
Westpoint Arena (7,500)
King's Hall (6,974)
Bolton Arena (6,000)
Derby Arena (5,500)
Braehead Arena (5,200)
SEC Concert Hall 3 (5,000)
Arena MK (5,000)
Emirates Arena (5,000)
Brighton Centre (4,500)
Windsor Hall (4,045)
Plymouth Pavilions (4,000)
Hull Arena (3,750)
Venue Cymru Arena (2,500)
Dundee Ice Arena (2,300)
Northgate Arena (1,500)
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Ahoy Rotterdam (Rotterdam)
Altice Arena (Lisbon)
Arena Birmingham (Birmingham)
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Arena Zagreb (Zagreb)
Barclaycard Arena (Hamburg)
Ericsson Globe (Stockholm)
Forest National (Brussels)
Főnix Hall (Debrecen)
Genting Arena (Birmingham)
Hallenstadion (Zurich)
Hartwall Arena (Helsinki)
ISS Dome (Düsseldorf)
László Papp Budapest Sports Arena (Budapest)
Malmö Arena (Malmö)
Mediolanum Forum (Milan)
Mercedes-Benz Arena (Berlin)
O2 Arena (Prague)
Olympiahalle (Munich)
Palacio Vistalegre (Madrid)
PalaLottomatica (Rome)
Palau Sant Jordi (Barcelona)
Rockhal (Luxembourg)
Saku Suurhall (Tallinn)
Scandinavium (Gothenburg)
Siemens Arena (Vilnius)
SSE Arena Belfast (Belfast)
SSE Hydro (Glasgow)
St. Jakobshalle (Basel)
Tauron Arena Kraków (Kraków)
Telenor Arena (Oslo)
The O2 Arena (London)
Wembley Arena (London)
Wiener Stadthalle (Vienna)
Štark Arena (Belgrade)
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text:
Potlatch
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Potlatch (disambiguation).
The Kwakwaka'wakw continue the practice of potlatch. Illustrated here is Wawadit'la in Thunderbird Park, Victoria, BC, a big house built by Chief Mungo Martin in 1953. Wealthy, prominent hosts would have a longhouse specifically for potlatching and for housing guests.
Part of a series on
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Barter
Debt
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Value
Wealth
Gift economy
Limited good
Inalienable possessions
Singularization (commodity pathway)
Spheres of exchange
Social capital
Cultural capital
Provisioning systems[show]
Hunting-gathering
Pastoralism
Nomadic pastoralism
Shifting cultivation
Moral economy
Peasant economics
Case studies[show]
Prestations
Kula ring
Moka exchange
Potlatch
Gifting
Gifting remittances
Organ gifting
Shell money
Provisioning
Aché people (hunter-gatherers)
Batek people
Colonialism and development
The Anti-Politics Machine
Europe and the
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Related articles[show]
Original affluent society
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Paul Bohannan
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Karl Polanyi
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Harold K. Schneider
Eric Wolf
Social and cultural anthropology
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A potlatch is a gift-giving feast practiced by indigenous peoples of the Pacific Northwest Coast of Canada and the United States,[1] among whom it is traditionally the primary economic system.[2] This includes the Heiltsuk, Haida, Nuxalk, Tlingit, Makah, Tsimshian,[3] Nuu-chah-nulth,[4] Kwakwaka'wakw,[2] and Coast Salish cultures.[5] Potlatches are also a common feature of the peoples of the Interior and of the Subarctic adjoining the Northwest Coast, though mostly without the elaborate ritual and gift-giving economy of the coastal peoples (see Athabaskan potlatch).
Potlatches went through a history of rigorous ban by the Canadian federal government, continuing underground despite the risk of criminal punishment, and have been studied by many anthropologists. Since the practice was de-criminalized in the post-war years, the potlatch has re-emerged in some communities.
The word comes from the Chinook Jargon, meaning "to give away" or "a gift"; originally from the Nuu-chah-nulth word paɬaˑč, to make a ceremonial gift in a potlatch.[1]
Contents
[hide]
1 Overview
2 History
2.1 Potlatch ban
2.2 Persistence
3 Anthropological theory
4 See also
5 References
6 External links
Overview[edit]
Speaker Figure, 19th century, Brooklyn Museum, the figure represents a speaker at a potlatch. An orator standing behind the figure would have spoken through its mouth, announcing the names of arriving guests.
N.B. This overview concerns the Kwakwaka'wakw potlatch. Potlatch traditions and formalities and kinship systems in other cultures of the region differ, often substantially.
A potlatch was held on the occasion of births, deaths, adoptions, weddings, and other major events. Typically the potlatch was practiced more in the winter seasons as historically the warmer months were for procuring wealth for the family, clan, or village, then coming home and sharing that with neighbors and friends. The event was hosted by a numaym, or 'House', in Kwakwaka'wakw culture. A numaym was a complex cognatic kin group usually headed by aristocrats, but including commoners and occasional slaves. It had about one hundred members and several would be grouped together into a tribe. The House drew its identity from its ancestral founder, usually a mythical animal who descended to earth and removed his animal mask, thus becoming human. The mask became a family heirloom passed from father to son along with the name of the ancestor himself. This made him the leader of the numaym, considered the living incarnation of the founder.[6]
Only rich people could host a potlatch. Tribal slaves were not allowed to attend a potlatch as a host or a guest. In some instances, it was possible to have multiple hosts at one potlatch ceremony (although when this occurred the hosts generally tended to be from the same family) If a member of a tribe had suffered an injury or indignity, hosting a potlatch could help to heal their tarnished reputation (or “cover his shame”, as anthropologist H. G. Barnett worded it.) [7] The potlatch was the occasion on which titles associated with masks and other objects were "fastened on" to a new office holder. Two kinds of titles were transferred on these occasions. Firstly, each numaym had a number of named positions of ranked "seats" (which gave them a seat at potlatches) transferred within itself. These ranked titles granted rights to hunting, fishing and berrying territories.[8] Secondly, there were a number of titles that would be passed between numayma, usually to in-laws, which included feast names that gave one a role in the Winter Ceremonial.[9] Aristocrats felt safe giving these titles to their out-marrying daughter's children because this daughter and her children would later be rejoined with her natal numaym and the titles returned with them.[10] Any one individual might have several "seats" which allowed them to sit, in rank order, according to their title, as the host displayed and distributed wealth and made speeches. Besides the transfer of titles at a potlatch, the event was given "weight" by the distribution of other less important objects such as Chilkat blankets, animal skins (later Hudson Bay blankets) and ornamental "coppers". It is the distribution of large numbers of Hudson Bay blankets, and the destruction of valued coppers that first drew government attention (and censure) to the potlatch.[11] On occasion, preserved food was also given as a gift during a potlatch ceremony. Gifts known as sta-bigs consisted of preserved food that was wrapped in a mat or contained in a storage basket.[12]
Dorothy Johansen describes the dynamic: "In the potlatch, the host in effect challenged a guest chieftain to exceed him in his 'power' to give away or to destroy goods. If the guest did not return 100 percent on the gifts received and destroy even more wealth in a bigger and better bonfire, he and his people lost face and so his 'power' was diminished."[13] Hierarchical relations within and between clans, villages, and nations, were observed and reinforced through the distribution or sometimes destruction of wealth, dance performances, and other ceremonies. The status of any given family is raised not by who has the most resources, but by who distributes the most resources. The hosts demonstrate their wealth and prominence through giving away goods.
Potlatch ceremonies were also used as coming-of-age rituals. When children were born, they would be given their first name at the time of their birth (which was usually associated with the location of their birthplace.) About a year later, the child's family would hold a potlatch and give gifts to the guests in attendance on behalf of the child. During this potlatch, the family would give the child their second name. Once the child reached about 12 years of age, they were expected to hold a potlatch of their own by giving out small gifts that they had collected to their family and tribe, at which point they would be able to receive their third name. [14]
For some cultures, such as Kwakwaka'wakw, elaborate and theatrical dances are performed reflecting the hosts' genealogy and cultural wealth. Many of these dances are also sacred ceremonies of secret societies like the hamatsa, or display of family origin from supernatural creatures such as the dzunukwa.
Edward Curtis photo of a Kwakwaka'wakw potlatch with dancers and singers
Chief O'wax̱a̱laga̱lis of the Kwagu'ł describes the potlatch in his famous speech to anthropologist Franz Boas,
We will dance when our laws command us to dance, we will feast when our hearts desire to feast. Do we ask the white man, 'Do as the Indian does'? No, we do not. Why, then, will you ask us, 'Do as the white man does'? It is a strict law that bids us to dance. It is a strict law that bids us to distribute our property among our friends and neighbors. It is a good law. Let the white man observe his law; we shall observe ours. And now, if you are come to forbid us to dance, begone; if not, you will be welcome to us.[15]
It is important to note the differences and uniqueness among the different cultural groups and nations along the coast. Each nation, tribe, and sometimes clan has its own way of practicing the potlatch with diverse presentation and meaning. The Tlingit and Kwakiutl tribes of the Pacific Northwest, for example, held potlatch ceremonies for different occasions. The Tlingit potlatches occurred for succession (the granting of tribal titles or land) and funerals. The Kwakiutl potlatches, on the other hand, occurred for marriages and incorporating new people into the tribe (i.e. the birth of a new member of the tribe.)[16] The potlatch, as an overarching term, is quite general, since some cultures have many words in their language for various specific types of gatherings. It is important to keep this variation in mind as most of our detailed knowledge of the potlatch was acquired from the Kwakwaka'wakw around Fort Rupert on Vancouver Island in the period 1849 to 1925, a period of great social transition in which many features became exaggerated in reaction to British colonialism.[17]
History[edit]
Watercolor by James G. Swan depicting the Klallam people of chief Chetzemoka at Port Townsend, with one of Chetzemoka's wives distributing potlatch
Before the arrival of the Europeans, gifts included storable food (oolichan, or candlefish, oil or dried food), canoes, slaves, and ornamental "coppers" among aristocrats, but not resource-generating assets such as hunting, fishing and berrying territories. Coppers were sheets of beaten copper, shield-like in appearance; they were about two feet long, wider on top, cruciform frame and schematic face on the top half. None of the copper used was ever of indigenous metal. A copper was considered the equivalent of a slave. They were only ever owned by individual aristocrats, and never by numaym, hence could circulate between groups. Coppers began to be produced in large numbers after the colonization of Vancouver Island in 1849 when war and slavery were ended.[18]
Example of an ornamental copper used at a potlatch
The arrival of Europeans resulted in the introduction of numerous diseases against which indigenous peoples had no immunity, resulting in a massive population decline. Competition for the fixed number of potlatch titles grew as commoners began to seek titles from which they had previously been excluded by making their own remote or dubious claims validated by a potlatch. Aristocrats increased the size of their gifts in order to retain their titles and maintain social hierarchy.[19] This resulted in massive inflation in gifting made possible by the introduction of mass-produced trade goods in the late 18th and earlier 19th centuries.
Potlatch ban[edit]
Main article: Potlatch Ban
Potlatching was made illegal in Canada in 1884 in an amendment to the Indian Act,[20] largely at the urging of missionaries and government agents who considered it "a worse than useless custom" that was seen as wasteful, unproductive, and contrary to 'civilized values' of accumulation.[21]
The potlatch was seen as a key target in assimilation policies and agendas. Missionary William Duncan wrote in 1875 that the potlatch was "by far the most formidable of all obstacles in the way of Indians becoming Christians, or even civilized".[22] Thus in 1884, the Indian Act was revised to include clauses banning the Potlatch and making it illegal to practice. Section 3 of the Act read,
Every Indian or other person who engages in or assists in celebrating the Indian festival known as the "Potlatch" or the Indian dance known as the "Tamanawas" is guilty of a misdemeanor, and shall be liable to imprisonment for a term not more than six nor less than two months in any gaol or other place of confinement; and, any Indian or other person who encourages, either directly or indirectly, an Indian or Indians to get up such a festival or dance, or to celebrate the same, or who shall assist in the celebration of same is guilty of a like offence, and shall be liable to the same punishment.[23]
In 1888, the anthropologist Franz Boas described the potlatch ban as a failure:
The second reason for the discontent among the Indians is a law that was passed, some time ago, forbidding the celebrations of festivals. The so-called potlatch of all these tribes hinders the single families from accumulating wealth. It is the great desire of every chief and even of every man to collect a large amount of property, and then to give a great potlatch, a feast in which all is distributed among his friends, and, if possible, among the neighboring tribes. These feasts are so closely connected with the religious ideas of the natives, and regulate their mode of life to such an extent, that the Christian tribes near Victoria have not given them up. Every present received at a potlatch has to be returned at another potlatch, and a man who would not give his feast in due time would be considered as not paying his debts. Therefore the law is not a good one, and can not be enforced without causing general discontent. Besides, the Government is unable to enforce it. The settlements are so numerous, and the Indian agencies so large, that there is nobody to prevent the Indians doing whatsoever they like.[24]
Eventually the potlatch law, as it became known, was amended to be more inclusive and address technicalities that had led to dismissals of prosecutions by the court. Legislation included guests who participated in the ceremony. The indigenous people were too large to police and the law too difficult to enforce. Duncan Campbell Scott convinced Parliament to change the offence from criminal to summary, which meant "the agents, as justice of the peace, could try a case, convict, and sentence".[25] Even so, except in a few small areas, the law was generally perceived as harsh and untenable. Even the Indian agents employed to enforce the legislation considered it unnecessary to prosecute, convinced instead that the potlatch would diminish as younger, educated, and more "advanced" Indians took over from the older Indians, who clung tenaciously to the custom.[26]
Persistence[edit]
The potlatch ban was repealed in 1951.[27] Sustaining the customs and culture of their ancestors, indigenous people now openly hold potlatches to commit to the restoring of their ancestors' ways. Potlatches now occur frequently and increasingly more over the years as families reclaim their birthright. Anthropologist Sergei Kan was invited by the Tlingit tribe to attend several potlatch ceremonies between 1980 and 1987 and observed several similarities and differences between traditional and contemporary potlatch ceremonies. Kan notes that there was a language gap during the ceremonies between the older members of the tribe and the younger members of the tribe (age fifty and younger) due to the fact that most of the younger members of the tribe do not speak the Tlingit language. Kan also notes that unlike traditional potlatches, contemporary Tlingit potlatches are no longer obligatory, resulting in only about 30% of the adult tribal members opting to participate in the ceremonies that Kan attended between 1980 and 1987. Despite these differences, Kan stated that he believed that many of the essential elements and spirit of the traditional potlatch were still present in the contemporary Tlingit ceremonies. [28]
Anthropological theory[edit]
In his book The Gift, the French ethnologist, Marcel Mauss used the term potlatch to refer to a whole set of exchange practices in tribal societies characterized by "total prestations", i.e., a system of gift giving with political, religious, kinship and economic implications.[29] These societies' economies are marked by the competitive exchange of gifts, in which gift-givers seek to out-give their competitors so as to capture important political, kinship and religious roles. Other examples of this "potlatch type" of gift economy include the Kula ring found in the Trobriand Islands.[17]
See also[edit]
Competitive altruism
Izikhothane
Conspicuous consumption
Guy Debord, French Situationist writer on the subject of potlatch and commodity reification.
Koha, a similar concept among the Māori
List of bibliographical materials on the potlatch
Moka exchange, a similar concept in Papua New Guinea
Potluck (folk etymology has derived the term "potluck" from the Native American custom of potlatch)
Pow wow, a gathering whose name is derived from the Narragansett word for "spiritual leader"
References[edit]
^ Jump up to: a b Harkin, Michael E., 2001, Potlatch in Anthropology, International Encyclopedia of the Social and Behavioral Sciences, Neil J. Smelser and Paul B. Baltes, eds., vol 17, pp. 11885-11889. Oxford: Pergamon Press.
^ Jump up to: a b Aldona Jonaitis. Chiefly Feasts: The Enduring Kwakiutl Potlatch. University of Washington Press 1991. ISBN 978-0-295-97114-8.
Jump up ^ Seguin, Margaret (1986) "Understanding Tsimshian 'Potlatch.'" In: Native Peoples: The Canadian Experience, ed. by R. Bruce Morrison and C. Roderick Wilson, pp. 473–500. Toronto: McClelland and Stewart.
Jump up ^ Atleo, Richard. Tsawalk: A Nuu-chah-nulth Worldview, UBC Press; New Ed edition (February 28, 2005). ISBN 978-0-7748-1085-2
Jump up ^ Matthews, Major J. S. (1955). Conversations with Khahtsahlano 1932–1954. pp. 190, 266, 267. ASIN B0007K39O2. Retrieved 2015-11-27.
Jump up ^ Graeber, David (2001). Toward an Anthropological Theory of Value: The False Coin of our own Dreams. New York: Palgrave. p. 192.
Jump up ^ Barnett, H. G. (1938). "The Nature of the Potlatch". American Anthropologist. 40: 349–358.
Jump up ^ Graeber, David (2001). Toward an Anthropological Theory of Value: The False Coin of our own Dreams. New York: Palgrave. p. 198.
Jump up ^ Graeber, David (2001). Toward an Anthropological Theory of Value: The False Coin of our own Dreams. New York: Palgrave. p. 194.
Jump up ^ Graeber, David (2001). Toward an Anthropological Theory of Value: The False Coin of our own Dreams. New York: Palgrave. p. 201.
Jump up ^ Graeber, David (2001). Toward an Anthropological Theory of Value: The False Coin of our own Dreams. New York: Palgrave. p. 205.
Jump up ^ Snyder, Sally (April 1975). "Quest for the Sacred in Northern Puget Sound: An Interpretation of Potlatch". Ethnology. 14: 149–161.
Jump up ^ Dorothy O. Johansen, Empire of the Columbia: A History of the Pacific Northwest, 2nd ed., (New York: Harper & Row, 1967), pp. 7–8.
Jump up ^ McFeat, Tom (1978). Indians of the North Pacific Coast. McGill-Queen’s University Press. pp. 72–80.
Jump up ^ Franz Boas, "The Indians of British Columbia," The Popular Science Monthly, March 1888 (vol. 32), p. 631.
Jump up ^ Rosman, Abraham (1972). "The Potlatch: A Structural Analysis 1". American Anthropologist. 74: 658–671.
^ Jump up to: a b Graeber, David (2001). Toward an Anthropological Theory of Value: The False Coin of our own Dreams. New York: Palgrave. pp. 188–208.
Jump up ^ Graeber, David (2001). Toward an Anthropological Theory of Value: The False Coin of our own Dreams. New York: Palgrave. p. 206.
Jump up ^ (1) Boyd (2) Cole & Chaikin
Jump up ^ An Act further to amend "The Indian Act, 1880," S.C. 1884 (47 Vict.), c. 27, s. 3.
Jump up ^ G. M. Sproat, quoted in Douglas Cole and Ira Chaikin, An Iron Hand upon the People: The Law against the Potlatch on the Northwest Coast (Vancouver and Toronto 1990), 15
Jump up ^ Robin Fisher, Contact and Conflict: Indian-European Relations in British Columbia, 1774–1890, Vancouver, University of British Columbia Press, 1977, 207.
Jump up ^ An Act further to amend "The Indian Act, 1880," S.C. 1884 (47 Vict.), c. 27, s. 3. Reproduced in n.41, Bell, Catherine (2008). "Recovering from Colonization: Perspectives of Community Members on Protection and Repatriation of Kwakwaka'wakw Cultural Heritage". In Bell, Catherine; Val Napoleon. First Nations Cultural Heritage and Law: Case Studies, Voices, and Perspectives. Vancouver: UBC Press. p. 89. ISBN 0-7748-1462-4. Retrieved 6 February 2011.
Jump up ^ Franz Boas, "The Indians of British Columbia," The Popular Science Monthly, March 1888 (vol. 32), p. 636.
Jump up ^ Aldona Jonaitis, Chiefly Feasts: the Enduring Kwakiutl Potlatch, Seattle, University of Washington Press, 1991, 159.
Jump up ^ Douglas Cole and Ira Chaikin, An Iron Hand upon the People: The Law against the Potlatch on the Northwest Coast (Vancouver and Toronto 1990), Conclusion
Jump up ^ Gadacz, René R. "Potlatch". The Canadian Encyclopedia. Retrieved 27 November 2013.
Jump up ^ Kan, Sergei (1989). "Cohorts, Generations, and their Culture: The Tlingit Potlatch in the 1980’s". Anthropos: International Review of Anthropology and Linguistics. 84: 405–422.
Jump up ^ Godelier, Maurice (1996). The Enigma of the Gift. Cambridge, UK: Polity Press. pp. 147–61.
External links[edit]
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Potlatch An exhibition from the Peabody Museum, Harvard University.
University of Washington Libraries Digital Collections – Oliver S. Van Olinda Photographs A collection of photographs depicting life on Vashon Island, Whidbey Island, Seattle and other communities around Puget Sound, Washington, Photographs of Native American activities such as documentation of a potlatch on Whidbey Island.
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You Can't Judge a Book by the Cover
From Wikipedia, the free encyclopedia
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This article is about the 1962 rock and roll song by Bo Diddley. For the popular saying, see Don't judge a book by its cover.
"You Can't Judge a Book by the Cover"
Single by Bo Diddley
from the album Bo Diddley
B-side
"I Can Tell"
Released
July 1962 (1962-07)
Format
7-inch 45 rpm record
Recorded
Chicago, June 27, 1962
Genre
Rock and roll, rhythm and blues
Length
2:43[1]
Label
Checker (no. 1019)
Songwriter(s)
Willie Dixon
Producer(s)
Ralph Bass
"You Can't Judge a Book by the Cover" is a 1962 song by rock and roll pioneer Bo Diddley. Written by Willie Dixon, the song was one of Diddley's last record chart hits.[2] Unlike many of his well-known songs, "You Can't Judge a Book by the Cover" does not rely on the Bo Diddley beat.[3] A variety of rock and other performers have recorded renditions of the song.
Original song[edit]
"You Can't Judge a Book by the Cover" is based on a sixteen-bar blues structure that "boasts a beat that's utterly compulsive and primordial, but closer to a way-speeded up walking rhythm than to the standard Diddley pattern".[3] Willie Dixon's lyrics use "a series of metaphors of all sorts of things you can't judge by their appearances before landing on the title phrase".[3]
You can't judge an apple by looking at a tree
You can't judge honey by looking at the bee
You can't judge a daughter by looking at the mother
You can't judge a book by looking at the cover
In his autobiography, Dixon explained that the lyrics were "his [Bo Diddley's] bag 100% ... and when I told him about it, he like it immediately".[4] Diddley's original recording breaks the fourth wall by encouraging the listener to turn his or her radio up after the first verse. In 1962, the song reached number 21 on the Billboard magazine R&B chart and number 48 on the Billboard Hot 100.[2]
Later renditions[edit]
"You Can't Judge a Book by the Cover" has been recorded by a variety of artists,[3] often with variations in the title, such as "You Can't Judge a Book by Its Cover" or "You Can't Judge a Book by Looking at the Cover". An early lineup of the Rolling Stones made a demo recording of the song in October 1962. In 1963, the Yardbirds with Eric Clapton recorded a live version of the song at the Crawdaddy Club in London during the sessions that produced the Sonny Boy Williamson and The Yardbirds album. In 1964, the song was performed on Germany's Beat-Club television program by the Syndicats, featuring guitarist Steve Howe. In 1966, folk singer Tom Rush recorded it for the album Take a Little Walk with Me. Also in 1966, garage band Shadows of Knight released their first album "Gloria" which included their own version. The Monkees recorded it their Live 1967 album with lead vocals by Mike Nesmith. On January 26, 1972, Jerry Garcia and Howard Wales performed an up-tempo version of the song in closing a concert set at Symphony Hall, Boston.[5]
Later versions include those by Cactus (1970 Cactus), Long John Baldry on his 1972 album Everything Stops for Tea, the Beat Farmers (2003 Live at the Spring Valley Inn, 1983), and the Fabulous Thunderbirds (1992 Hot Stuff). Hank Williams, Jr. recorded it as a duet with Huey Lewis on his 1986 album, Montana Cafe, and Roy Buchanan (with Delbert McClinton) (2011 Alligator Records 40th Anniversary Collection). The Strypes included a version on their 2012 debut EP Young Gifted & Blue. Kenny Wayne Shepherd Band's seventh studio album Goin' Home, released in May 2014, includes a version of the song with vocals by longtime vocalist (and rhythm guitarist) Noah Hunt and guest vocalist Pastor Brady Blade Sr.
On January 22, 2018, a cover was released featuring SZA and an eclectic group of up-and-coming artists from a variety of genres for MasterCard's Start Something Priceless Movement.[6] The other artists include The Tracks, Radkey, Victoria Canal, William Prince, Noe Socha, and Ruby Ibarra. They were chosen for having triumphed over adversity to succeed. "Some have overcome a disability, such as Noe Socha who is blind, or Canal who is missing a hand, while others have overcome prejudice, such as Radkey who are a black rock group."[7]
References[edit]
Jump up ^ The original Checker 45 lists 2:43; later reissues list 3:10–3:16.
^ Jump up to: a b Whitburn, Joel (1988). Top R&B Singles 1942–1988. Menomonee Falls, Wisconsin: Record Research. p. 118. ISBN 0-89820-068-7.
^ Jump up to: a b c d Unterberger, Ritchie. "You Can't Judge a Book by Its Cover – Song Review". AllMusic. Retrieved October 6, 2010.
Jump up ^ Dixon, Willie; Snowden, Don (1989). I Am the Blues. New York City: Da Capo Press. p. 149. ISBN 0-306-80415-8.
Jump up ^ "Jerry Garcia and Howard Wales, Symphony Hall, January 26, 1972". jerrygarcia.com. Jerry Garcia Family LLC. Retrieved June 29, 2014.
Jump up ^ "SZA And Other Rising Stars Cover 'You Can't Judge A Book By The Cover'". UPROXX. 2018-01-23. Retrieved 2018-02-02.
Jump up ^ Jardine, Alexandra. "All the Artists in This pre-Grammys MasterCard Music Video via McCann Have Overcome Adversity". Creativity Online. Retrieved 2018-02-02.
[hide]
v
t
e
Bo Diddley
Singles
"Bo Diddley"/"I'm a Man" (1955)
"Diddley Daddy"/"She's Fine, She's Mine" (1955)
"Pretty Thing" (1955)
"Diddy Wah Diddy" (1956)
"Who Do You Love?" (1956)
"Hey! Bo Diddley" (1957)
"Before You Accuse Me" (1958)
"Say Man" (1959)
"Road Runner" (1960)
"You Can't Judge a Book by the Cover" (1962)
Studio albums
Go Bo Diddley (1959)
Have Guitar, Will Travel (1960)
Bo Diddley Is a Gunslinger (1961)
Bo Diddley (1962)
Two Great Guitars (1964)
Super Blues (1967)
A Man Amongst Men (1996)
Live albums
Bo Diddley's Beach Party (1963)
Hey... Bo Diddley: In Concert (1986)
Live at the Ritz (1988)
Compilation
albums
Bo Diddley (1958)
His Best (1997)
Collaborators
Billy Boy Arnold
Lester Davenport
Harvey Fuqua
Willie Dixon
Jody Williams
Norma-Jean Wofford
Johnnie Johnson
Related articles
Discography
Bo Diddley beat
Rock and roll
Checker Records
Leonard Chess
Retrieved from "https://en.wikipedia.org/w/index.php?title=You_Can%27t_Judge_a_Book_by_the_Cover&oldid=824398843"
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Bo Diddley songs
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text:
Midnight sun
From Wikipedia, the free encyclopedia
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For other uses, see Midnight sun (disambiguation).
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2013) (Learn how and when to remove this template message)
The Altafjord in Alta, Norway, bathed in the midnight sun.
Midnight sun at the North Cape on the island of Magerøya in Norway
The midnight sun is a natural phenomenon that occurs in the summer months in places north of the Arctic Circle or south of the Antarctic Circle, when the sun remains visible at the local midnight.
Contents
1 Details
2 Time zones and daylight saving time
3 White nights
4 Duration
5 See also
6 References
7 Further reading
8 External links
Details[edit]
Around the summer solstice (approximately 21 June in the Northern Hemisphere and 22 December in the Southern Hemisphere), the sun is visible for the full 24 hours, given fair weather. The number of days per year with potential midnight sun increases the closer towards either pole one goes. Although approximately defined by the polar circles, in practice the midnight sun can be seen as much as 55 miles (90 km) outside the polar circle, as described below, and the exact latitudes of the farthest reaches of midnight sun depend on topography and vary slightly year-to-year.
Midnight Sun seen from airplane while passing Greenland
Because there are no permanent human settlements south of the Antarctic Circle, apart from research stations, the countries and territories whose populations experience the midnight sun are limited to those crossed by the Arctic Circle: the Canadian Yukon, Nunavut, and Northwest Territories; the nations of Iceland, Finland, Norway, Sweden, Denmark (Greenland), Russia; and the State of Alaska in the United States. A quarter of Finland's territory lies north of the Arctic Circle, and at the country's northernmost point the sun does not set at all for 60 days during summer. In Svalbard, Norway, the northernmost inhabited region of Europe, there is no sunset from approximately 19 April to 23 August. The extreme sites are the poles, where the sun can be continuously visible for half the year. The North Pole has midnight sun for 6 months from late March to late September.
The opposite phenomenon, polar night, occurs in winter, when the sun stays below the horizon throughout the day.
Since the axial tilt of the Earth is considerable (approximately 23 degrees 27 minutes), the sun does not set at high latitudes in local summer.[1] The sun remains continuously visible for one day during the summer solstice at the polar circle, for several weeks only 100 km (62 mi) closer to the pole, and for six months at the pole. At extreme latitudes, the midnight sun is usually referred to as polar day.
At the poles themselves, the sun rises and sets only once each year on the equinox. During the six months that the sun is above the horizon, it spends the days continuously moving in circles around the observer, gradually spiralling higher and reaching its highest circuit of the sky at the summer solstice.
Because of atmospheric refraction, and also because the sun is a disc rather than a point, the midnight sun may be experienced at latitudes slightly below the polar circle, though not exceeding one degree (depending on local conditions). For example, Iceland is known for its midnight sun, even though most of it (Grímsey is the exception) is slightly south of the Arctic Circle. For the same reasons, the period of sunlight at the poles is slightly longer than six months. Even the northern extremities of Scotland (and places at similar latitudes, such as St. Petersburg) experience twilight throughout the night in the northern sky at around the summer solstice.
Observers at heights appreciably above sea level can experience extended periods of midnight sun as a result of the "dip" of the horizon viewed from altitude.
Time zones and daylight saving time[edit]
The term "midnight sun" refers to the consecutive 24-hour periods of sunlight experienced north of the Arctic Circle and south of the Antarctic Circle. Other phenomena are sometimes referred to as "midnight sun", but they are caused by time zones and the observance of daylight saving time. For instance, in Fairbanks, Alaska, which is south of the Arctic Circle, the sun sets at 12:47 am at the summer solstice. This is because Fairbanks is 51 minutes ahead of its idealized time zone (as most of the state is in one time zone) and Alaska observes daylight saving time. (Fairbanks is at about 147.72 degrees west, corresponding to UTC−9 hours 51 minutes, and is on UTC−9 in winter.) This means that solar culmination occurs at about 12:51 pm instead of at 12 noon.
If a precise moment for the genuine "midnight sun" is required, the observer's longitude, the local civil time and the equation of time must be taken into account. The moment of the sun's closest approach to the horizon coincides with its passing due north at the observer's position, which occurs only approximately at midnight in general. Each degree of longitude east of the Greenwich meridian makes the vital moment exactly 4 minutes earlier than midnight as shown on the clock, while each hour that the local civil time is ahead of coordinated universal time (UTC, also known as GMT) makes the moment an hour later. These two effects must be added. Furthermore, the equation of time (which depends on the date) must be added: a positive value on a given date means that the sun is running slightly ahead of its average position, so the value must be subtracted.[2]
As an example, at the North Cape of Norway at midnight on June 21/22, the longitude of 25.9 degrees east makes the moment 103.2 minutes earlier by clock time; but the local time, 2 hours ahead of GMT in the summer, makes it 120 minutes later by clock time. The equation of time at that date is -2.0 minutes. Therefore, the sun's lowest elevation occurs 120 - 103.2 + 2.0 minutes after midnight: at 00.19 Central European Summer time. On other nearby dates the only thing different is the equation of time, so this remains a reasonable estimate for a considerable period. The sun's altitude remains within half a degree of the minimum of about 5 degrees for about 45 minutes either side of this time.
White nights[edit]
Main article: White Night festivals
Locations where the sun remains less than 6 (or 7[3]) degrees below the horizon—above 60° 34’ (or 59° 34’) latitude south of the Arctic Circle or north of the Antarctic Circle—experience midnight twilight instead of midnight sun, so that daytime activities, such as reading, are still possible without artificial light on a clear night.
White Nights have become a common symbol of Saint Petersburg, Russia, where they occur from about 11 June to 2 July,[3] and the last 10 days of June are celebrated with cultural events known as the White Nights Festival.
Duration[edit]
Map showing the dates of midnight sun at various latitudes (left) and the total number of nights.
Even though at the Arctic Circle the center of the sun is, per definition, only visible during one summer night, some part of the midnight sun is visible at the Arctic Circle from approximately 12 June until 1 July. This period extends as one travels north: At Cape Nordkinn, Norway, the northernmost point of Continental Europe, the midnight sun lasts approximately from 14 May to 29 July. On the Svalbard archipelago farther north, it lasts from 20 April to 22 August.[4]
See also[edit]
Environment portal
Pytheas, ancient Greek geographer from Massalia and first person to describe the midnight sun
Eagle Summit, which, because of its altitude, experiences the midnight sun despite being south of the Arctic Circle
Polar night, the opposite phenomenon experienced in winter: a day without sunrise.
Midnight Sun Solar Race Team: With the midnight sun phenomenon, a solar-powered vehicle can continue driving 24 hours a day.
References[edit]
Jump up ^ "What is the Midnight Sun Phenomenon? | Earth Phenomena | Planetary Science". Scribd. Retrieved 2017-08-25.
Jump up ^ H. Spencer Jones, General Astronomy (Edward Arnold, London, 1922), Chapters I-III
^ Jump up to: a b Great Soviet Encyclopedia
Jump up ^ Trygve B. Haugan, ed. Det Nordlige Norge Fra Trondheim Til Midnattssolens Land (Trondheim: Reisetrafikkforeningen for Trondheim og Trøndelag. 1940)
Further reading[edit]
Lutgens F.K., Tarbuck E.J. (2007) The Atmosphere, Tenth Edition, page 39, PEARSON, Prentice Hall, NJ.
External links[edit]
Wikimedia Commons has media related to Midnight sun.
Midnight sun seen from Fjellheisen Tromsø - 360 panorama
hide
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Parts of a day
Dawn–Twilight–Sunrise
Morning
Daytime
Evening
Sunset–Twilight–Dusk
Night
Related articles:
Belt of Venus
Blue hour
Golden hour
Terminator
Daylight
Forenoon
Noon
Afternoon
Midnight
Midnight sun
Polar night
Zodiacal light
Retrieved from "https://en.wikipedia.org/w/index.php?title=Midnight_sun&oldid=854635938"
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text:
Leaving on a Jet Plane
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Leaving on a Jet Plane"
Single by Peter, Paul and Mary
from the album Album 1700
B-side
"The House Song"
Released
October 1969
Format
7"
Genre
Folk
Length
3:27
Label
Warner Bros.-Seven Arts 7340
Songwriter(s)
John Denver
Producer(s)
Milt Okun
Peter, Paul and Mary singles chronology
"Day Is Done"
(1969) "Leaving on a Jet Plane"
(1969) "The Marvelous Toy"
(1969)
"Day Is Done"
(1969) "Leaving on a Jet Plane"
(1969) "The Marvelous Toy"
(1969)
"Leaving on a Jet Plane" is a song written by John Denver in 1966 and most famously recorded by Peter, Paul and Mary. The original title of the song was "Babe, I Hate to Go", as featured on his 1966 studio album John Denver Sings, but Denver's then producer Milt Okun convinced him to change the title. Peter, Paul and Mary recorded the song for their 1967 Album 1700 but only released it as a single in 1969.[1]
It turned out to be Peter, Paul and Mary's biggest (and final) hit, becoming their only No. 1 on the Billboard Hot 100 chart in the United States. The song also spent three weeks atop the easy listening chart[2] and was used in commercials for United Airlines in the late 1970s. The song also topped the charts in Canada, and reached No. 2 in both the UK Singles Chart and Irish Singles Chart in February 1970.
In 1969, John Denver recorded a version of the song for his debut solo album, Rhymes & Reasons, and re-recorded it in 1973 for John Denver's Greatest Hits. His version was featured in the end credits of The Guard.
Contents
[hide]
1 Lawsuit
2 Chart performance
2.1 Weekly charts
2.2 Year-end charts
3 References
4 External links
Lawsuit[edit]
In the 1980s the song prompted litigation involving the British group New Order. The band's single "Run 2" (1989) was the subject of a lawsuit brought by John Denver, who argued that its wordless guitar break was based on his "Leaving on a Jet Plane". An out-of-court settlement ensured that the song would never be re-released in its original form.[3]
Chart performance[edit]
Weekly charts[edit]
Chart (1969-70)
Peak
position
Australia KMR[4] 30
Canada RPM 1
UK 2
US Billboard Hot 100[5] 1
US Easy Listening (Billboard)[2] 1
US Cash Box Top 100[6] 1
Year-end charts[edit]
Chart (1969)
Rank
US (Joel Whitburn's Pop Annual)[7] 13
US Adult Contemporary (Billboard)[8] 50
Chart (1970)
Rank
Canada[9] 71
UK[10] 27
References[edit]
Jump up ^ Amy Willis (September 17, 2009). "Peter, Paul and Mary: Career timeline". The Daily Telegraph.
^ Jump up to: a b Whitburn, Joel (2002). Top Adult Contemporary: 1961-2001. Record Research. p. 192.
Jump up ^ "New Order:Singles:Run 2". Niagara.edu. Retrieved 2016-10-02.
Jump up ^ David Kent's "Australian Chart Book 1970-1992" Archived 2016-03-05 at Archive.is
Jump up ^ [Joel Whitburn's Top Pop Singles 1955-2002]
Jump up ^ http://tropicalglen.com/Archives/60s_files/19691220.html
Jump up ^ Whitburn, Joel (1999). Pop Annual. Menomonee Falls, Wisconsin: Record Research Inc. ISBN 0-89820-142-X.
Jump up ^ Top Records on 1969 (Based on Billboard Charts)", Billboard, December 27, 1969. pp. 16-17. Accessed December 7, 2016.
Jump up ^ "Item Display - RPM - Library and Archives Canada". collectionscanada.gc.ca.
Jump up ^ http://www.uk-charts.top-source.info/top-100-1970.shtml
External links[edit]
Review of "Leaving on a Jet Plane" at AllMusic
Lyrics of this song at MetroLyrics
Preceded by
"Try a Little Kindness" by Glen Campbell Billboard Easy Listening Singles number-one single (Peter, Paul & Mary version)
November 22, 1969 (3 weeks) Succeeded by
"Raindrops Keep Fallin' on My Head" by B.J. Thomas
Preceded by
"Na Na Hey Hey Kiss Him Goodbye" by Steam Billboard Hot 100 number one single (Peter Paul and Mary version)
December 20, 1969 (one week) Succeeded by
"Someday We'll Be Together" by Diana Ross & the Supremes
[show]
v
t
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John Denver
Studio albums
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Whose Garden Was This
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Aerie
Rocky Mountain High
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Windsong
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I Want to Live
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Autograph
Some Days Are Diamonds
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It's About Time
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One World
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The Flower That Shattered the Stone
Different Directions
All Aboard!
Love Again
Live albums
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Specialty albums
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Rocky Mountain Holiday
Christmas, Like a Lullaby
Forever, John
Compilation albums
John Denver's Greatest Hits
John Denver's Greatest Hits, Volume 2
John Denver's Greatest Hits, Volume 3
The Very Best of John Denver
John Denver: A Portrait
The John Denver Collection
Something to Sing About
16 Biggest Hits
Tribute albums
The Music Is You: A Tribute to John Denver
Singles
"Take Me Home, Country Roads"
"Rocky Mountain High"
"Sunshine on My Shoulders"
"Annie's Song"
"Back Home Again"
"Sweet Surrender"
"Thank God I'm a Country Boy"
"I'm Sorry"
"Calypso"
"Fly Away"
"Looking for Space"
"Like a Sad Song"
"Some Days Are Diamonds (Some Days Are Stone)"
"The Cowboy and the Lady"
"Perhaps Love"
"Shanghai Breezes"
"Dreamland Express"
"And So It Goes"
Related articles
Discography
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Perhaps Love
"Leaving on a Jet Plane"
Category
[show]
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Peter Yarrow
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Peter, Paul and Mary
Moving
In the Wind
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"Stewball"
"Tell It on the Mountain"
"The Times They Are a-Changin'"
"When the Ship Comes In"
"San Francisco Bay Blues"
"Early Morning Rain"
"I Dig Rock and Roll Music"
"Too Much of Nothing"
"Day Is Done"
"Leaving on a Jet Plane"
Other songs
"Where Have All the Flowers Gone?"
"And When I Die"
"El Salvador"
"The First Time Ever I Saw Your Face"
"This Land Is Your Land"
[show]
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Oliver
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Again
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Prisms
Singles
"Good Morning Starshine"
"Jean"
"Sunday Mornin'"
Cover Songs
"Both Sides Now"
"If You Go Away"
"In My Life"
"Leaving on a Jet Plane"
"Ruby Tuesday"
"The Twelfth of Never"
"Until It's Time for You to Go"
"Where Is Love?"
[show]
v
t
e
Chantal Kreviazuk
Studio albums
Under These Rocks and Stones (1997)
Colour Moving And Still (1999)
What If It All Means Something (2002)
Ghost Stories (2006)
Plain Jane (2009)
Hard Sail (2016)
Compilation albums
Since We Met: The Best of 1996-2006 (2008)
Singles
"Surrounded"
"Leaving on a Jet Plane"
"Feels Like Home"
"Before You"
"All I Can Do"
"Invincible"
"Into Me"
Related artists
Chantal Kreviazuk production discography
Raine Maida
Our Lady Peace
Avril Lavigne
Retrieved from "https://en.wikipedia.org/w/index.php?title=Leaving_on_a_Jet_Plane&oldid=794579034"
Categories:
1966 songs
1969 singles
Warner Bros. Records singles
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John Denver songs
Peter, Paul and Mary songs
Billboard Adult Contemporary number-one singles
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Songs about aviation
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Hot Adult Contemporary Tracks

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http://www.allmusic.com/song/t501090

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B.J. Thomas

values: List of Hot 100 number-one singles of 1969 (U.S.)

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Peter Paul and Mary

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John Denver: A Portrait

values: And So It Goes (Nitty Gritty Dirt Band song)

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Colour Moving And Still

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