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Pop music
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This article is about a specific music genre. For popular music in general, see Popular music. For other uses, see Pop music (disambiguation).
"Pop song" redirects here. For other uses, see Pop Song.
Pop
Stylistic origins
Traditional pop[1]
rock and roll[2]
folk[3]
Cultural origins
Mid-1950s, United States and United Kingdom
Derivative forms
Disco
Subgenres
Art pop
Brill Building
bubblegum pop
dance-pop
experimental pop
hypnagogic pop
operatic pop
progressive pop
sophisti-pop
space age pop
sunshine pop
synth-pop
teen pop
Fusion genres
Baroque pop
beat
Contemporary Christian
country pop
electropop
indie pop
jangle pop
Latin pop
noise pop
pop punk
pop-rap
pop rock
power pop
psychedelic pop
R&B
reggae fusion
smooth jazz
smooth soul
Regional scenes
China
India
Indonesia
Hong Kong
Italy
Japan
Korea
Malaysia
Mexican
Morocco
Pakistan
Philippines
Russia
Scandinavia
Sweden
Taiwan
Thailand
Turkey
United Kingdom
United States
Vietnam
Western Europe
Other topics
Avant-pop
pop music automation
poptimism
rock music
Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid-1950s.[4] The terms "popular music" and "pop music" are often used interchangeably, although the former describes all music that is popular and includes many different styles. "Pop" and "rock" were roughly synonymous terms until the late 1960s, when they became increasingly differentiated from each other.
Although much of the music that appears on record charts is seen as pop music, the genre is distinguished from chart music. Pop music is eclectic, and often borrows elements from other styles such as urban, dance, rock, Latin, and country; nonetheless, there are core elements that define pop music. Identifying factors include generally short to medium-length songs written in a basic format (often the verse-chorus structure), as well as common use of repeated choruses, melodic tunes, and hooks.
Contents
[hide]
1 Definitions and etymology
2 Characteristics
3 Development and influence
3.1 Stylistic evolution
3.2 Technology and media
3.3 Legitimacy in music criticism
3.4 International spread
4 See also
5 References
6 Further reading
7 External links
Definitions and etymology[edit]
David Hatch and Stephen Millward define pop music as "a body of music which is distinguishable from popular, jazz, and folk musics".[5] According to Pete Seeger, pop music is "professional music which draws upon both folk music and fine arts music".[3] Although pop music is seen as just the singles charts, it is not the sum of all chart music. The music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately.[6] Thus "pop music" may be used to describe a distinct genre, designed to appeal to all, often characterized as "instant singles-based music aimed at teenagers" in contrast to rock music as "album-based music for adults".[4][8]
Pop music continuously evolves along with the term's definition. According to The New Grove Dictionary Of Music and Musicians, popular music is defined as "the music since industrialization in the 1800s that is most in line with the tastes and interests of the urban middle class."[9] The term "pop song" was first recorded as being used in 1926, in the sense of a piece of music "having popular appeal".[10] Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music.[11]
The Oxford Dictionary of Music states that the term "pop" refers to music performed by such artists as the Rolling Stones (pictured here in a 2006 performance)
According to the website of The New Grove Dictionary of Music and Musicians, called Grove Music Online, the term "pop music" "originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced".[2] The Oxford Dictionary of Music states that while pop's "earlier meaning meant concerts appealing to a wide audience ... since the late 1950s, however, pop has had the special meaning of non-classical mus[ic], usually in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc".[12] Grove Music Online also states that "... in the early 1960s, [the term] 'pop music' competed terminologically with beat music [in England], while in the USA its coverage overlapped (as it still does) with that of 'rock and roll'".[2]
From about 1967, the term was increasingly used in opposition to the term rock music, a division that gave generic significance to both terms.[13] Whereas rock aspired to authenticity and an expansion of the possibilities of popular music,[13] pop was more commercial, ephemeral and accessible.[14] According to British musicologist Simon Frith, pop music is produced "as a matter of enterprise not art", is "designed to appeal to everyone" and "doesn't come from any particular place or mark off any particular taste". It is "not driven by any significant ambition except profit and commercial reward ... and, in musical terms, it is essentially conservative". It is, "provided from on high (by record companies, radio programmers, and concert promoters) rather than being made from below ... Pop is not a do-it-yourself music but is professionally produced and packaged".[4]
Characteristics[edit]
The Righteous Brothers – "You've Lost That Lovin' Feelin'" (1965)
As of 2011[update], "You've Lost That Lovin' Feelin'" ranks as the most frequently played song in US radio history,[15] described by music writers Nick Logan and Bob Woffinden as "the ultimate pop record".[16]
Problems playing this file? See media help.
According to Frith, characteristics of pop music include an aim of appealing to a general audience, rather than to a particular sub-culture or ideology, and an emphasis on craftsmanship rather than formal "artistic" qualities.[4] Music scholar Timothy Warner said it typically has an emphasis on recording, production, and technology, rather than live performance; a tendency to reflect existing trends rather than progressive developments; and aims to encourage dancing or uses dance-oriented rhythms.[14]
The main medium of pop music is the song, often between two and a half and three and a half minutes in length, generally marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure.[17] Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, and a chorus that contrasts melodically, rhythmically and harmonically with the verse.[18] The beat and the melodies tend to be simple, with limited harmonic accompaniment.[19] The lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions.[4]
Harmony and chord progressions in pop music are often "that of classical European tonality, only more simple-minded."[20] Clichés include the barbershop quartet-style harmony (i.e. ii – V – I) and blues scale-influenced harmony.[21] There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function.[22]
Development and influence[edit]
Stylistic evolution[edit]
See also: Traditional pop, Pop rock, Experimental pop, Orchestral pop, Progressive pop, Synthpop, and Indie pop
This section is missing information about the 1980s–2000s. Please expand the section to include this information. Further details may exist on the talk page. (October 2017)
Throughout its development, pop music has absorbed influences from other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, and spoken passages from rap.[4][verification needed]
In the 1960s, the majority of mainstream pop music fell in two categories: guitar, drum and bass groups or singers backed by a traditional orchestra.[23] Since early in the decade, it was common for pop producers, songwriters, and engineers to freely experiment with musical form, orchestration, unnatural reverb, and other sound effects. Some of the best known examples are Phil Spector's Wall of Sound and Joe Meek's use of homemade electronic sound effects for acts like the Tornados.[24] At the same time, pop music on radio and in both American and British film moved away from refined Tin Pan Alley to more eccentric songwriting and incorporated reverb-drenched rock guitar, symphonic strings, and horns played by groups of properly arranged and rehearsed studio musicians.[25]
During the mid-1960s, pop music made repeated forays into new sounds, styles, and techniques that inspired public discourse among its listeners. The word "progressive" was frequently used, and it was thought that every song and single was to be a "progression" from the last.[26] Music critic Simon Reynolds writes that beginning with 1967, a divide would exist between "progressive" pop and "mass/chart" pop, a separation which was "also, broadly, one between boys and girls, middle-class and working-class."[27] Before the progressive pop of the late 1960s, performers were typically unable to decide on the artistic content of their music.[28] Assisted by the mid-1960s economic boom, record labels began investing in artists, giving them freedom to experiment, and offering them limited control over their content and marketing.[29] This situation fell in disuse after the late 1970s and would not reemerge until the rise of Internet stars.[29] Indie pop, which developed in the late 1970s, marked another departure from the glamour of contemporary pop music, with guitar bands formed on the then-novel premise that one could record and release their own music without having to procure a record contract from a major label.[30] In 2014, pop music worldwide was permeated by electronic dance music.[31]
A Scientific Reports study that examined over 464,000 recordings of popular music recorded between 1955 and 2010 found less variety in pitch progressions, growing average loudness levels,[32] less diverse instrumentation and recording techniques, and less timbral variety, which declined after reaching a peak in the 1960s.[33] Scientific American's John Matson reported that this "seems to support the popular anecdotal observation that pop music of yore was "better", or at least more varied, than today’s top-40 stuff."[33]
Technology and media[edit]
Left, Michael Jackson; right, Madonna known respectively as the "King and Queen of Pop".[34]
In the 1940s improved microphone design allowed a more intimate singing style[35] and ten or twenty years later inexpensive and more durable 45 r.p.m. records for singles "revolutionized the manner in which pop has been disseminated" and helped to move pop music to 'a record/radio/film star system'.[35] Another technological change was the widespread availability of television in the 1950s; with televised performances, "pop stars had to have a visual presence".[35] In the 1960s, the introduction of inexpensive, portable transistor radios meant that First World teenagers could listen to music outside of the home.[35] Multi-track recording (from the 1960s); and digital sampling (from the 1980s) have also been utilized as methods for the creation and elaboration of pop music.[4] By the early 1980s, the promotion of pop music had been greatly affected by the rise of music television channels like MTV, which "favoured those artists such as Michael Jackson and Madonna who had a strong visual appeal".[35]
Legitimacy in music criticism[edit]
See also: Poptimism
The latter half of the 20th-century included a large-scale trend in American culture in which the boundaries between art and pop music were increasingly blurred.[36] Between 1950 and 1970, there was a debate of pop versus art.[37] Since then, certain music publications have embraced its legitimacy. According to Popmatters' Robert Loss: "There’s a strong argument for the 'rockist' mode in music criticism—that it exists, and that it’s harmful—and poptimism has positioned itself as a corrective, an antidote. ... In general, the Old Guard of rock critics and journalists is depicted as a bunch of bricklayers for the foundations of the Rock and Roll Hall of Fame. True in part, which is to say, false. Like film studies, rock criticism of the late ‘60s and the ‘70s was an attempt to make popular music worthy of study; it was poptimism before its day."[37]
International spread[edit]
The story of pop music is largely the story of the intertwining pop culture of the United States and the United Kingdom in the postwar era.
“
”
— Bob Stanley[31]
Pop music has been dominated by the American and (from the mid-1960s) British music industries, whose influence has made pop music something of an international monoculture, but most regions and countries have their own form of pop music, sometimes producing local versions of wider trends, and lending them local characteristics.[38] Some of these trends (for example Europop) have had a significant impact of the development of the genre.[39]
According to Grove Music Online, "Western-derived pop styles, whether coexisting with or marginalizing distinctively local genres, have spread throughout the world and have come to constitute stylistic common denominators in global commercial music cultures".[40] Some non-Western countries, such as Japan, have developed a thriving pop music industry, most of which is devoted to Western-style pop. Japan has for several years produced a greater quantity of music than everywhere except the USA.[clarification needed][40] The spread of Western-style pop music has been interpreted variously as representing processes of Americanization, homogenization, modernization, creative appropriation, cultural imperialism, or a more general process of globalization.[40]
In Korea, pop music's influence has led to the birth of boy bands and girl groups which have gained overseas renown through both their music and aesthetics.[41] Korean co-ed groups (mixed gender groups) have not been as successful.[42]
See also[edit]
Music portal
Honorific nicknames in popular music
Origins of rock and roll
Popular music pedagogy
List of popular music genres
History of music
Public domain music
Internet Archive
References[edit]
Jump up ^ Traditional Pop, Allmusic.com. Retrieved 25 August 2016
^ Jump up to: a b c R. Middleton, et al., "Pop", Grove music online, retrieved 14 March 2010. (subscription required)
^ Jump up to: a b Gilliland, John (1969). "Show 1 - Play A Simple Melody: Pete Seeger on the origins of pop music" (audio). Pop Chronicles. University of North Texas Libraries.
^ Jump up to: a b c d e f g S. Frith, W. Straw, and J. Street, eds, The Cambridge Companion to Pop and Rock (Cambridge: Cambridge University Press), ISBN 0-521-55660-0, pp. 95–105.
Jump up ^ D. Hatch and S. Millward, From Blues to Rock: an Analytical History of Pop Music (Manchester: Manchester University Press, 1987), ISBN 0-7190-1489-1, p. 1.
Jump up ^ R. Serge Denisoff and William L. Schurk, Tarnished Gold: the Record Industry Revisited (New Brunswick, NJ: Transaction Publishers, 3rd edn., 1986), ISBN 0-88738-618-0, pp. 2–3.
Jump up ^ Moore, Allan F. (2016). Song Means: Analysing and Interpreting Recorded Popular Song. Routledge. ISBN 978-1-317-05265-4.
Jump up ^ Musicologist Allan Moore surmises that the term "pop music" itself may have been popularized by Pop art.[7]
Jump up ^ "What Is Pop Music?". Retrieved 2016-10-06.
Jump up ^ J. Simpson and E. Weiner, Oxford English Dictionary(Oxford: Oxford University Press, 1989). ISBN 0-19-861186-2, cf pop.
Jump up ^ D. Hatch and S. Millward, From Blues to Rock: an Analytical History of Pop Music, ISBN 0-7190-1489-1, p. 49.
Jump up ^ "Pop", The Oxford Dictionary of Music, retrieved 9 March 2010.(subscription required)
^ Jump up to: a b Kenneth Gloag in The Oxford Companion to Music (Oxford: Oxford University Press, 2001), ISBN 0-19-866212-2, p. 983.
^ Jump up to: a b T. Warner, Pop Music: Technology and Creativity: Trevor Horn and the Digital Revolution (Aldershot: Ashgate, 2003), ISBN 0-7546-3132-X, pp. 3–4.
Jump up ^ "Van's Brown Eyed Girl hits the 10 million mark in US". BBC. 5 October 2011.
Jump up ^ Steve Sullivan (October 4, 2013). Encyclopedia of Great Popular Song Recordings, Volume 2. Scarecrow Press. pp. 101–103. ISBN 978-0810882959.
Jump up ^ W. Everett, Expression in Pop-rock Music: A Collection of Critical and Analytical Essays (London: Taylor & Francis, 2000), p. 272.
Jump up ^ J. Shepherd, Continuum Encyclopedia of Popular Music of the World: Performance and production (Continuum, 2003), p. 508.
Jump up ^ V. Kramarz, The Pop Formulas: Harmonic Tools of the Hit Makers (Mel Bay Publications, 2007), p. 61.
Jump up ^ Winkler, Peter (1978). "Toward a theory of pop harmony", In Theory Only, 4, pp. 3–26.
Jump up ^ Sargeant, p. 198. cited in Winkler (1978), p. 4.
Jump up ^ Winkler (1978), p. 22.
Jump up ^ "Making Arrangements—A Rough Guide To Song Construction & Arrangement, Part 1". Sound on Sound. October 1997. Archived from the original on 8 May 2014. Retrieved 8 May 2014.
Jump up ^ Blake 2009, p. 45.
Jump up ^ Pareles, Jon (October 31, 2008). "Orchestral Pop, the Way It Was (More or Less)". The New York Times. Retrieved July 4, 2013.
Jump up ^ Hewitt & Hellier 2015, p. 162.
Jump up ^ Reynolds 2006, p. 398.
Jump up ^ Willis 2014, p. 217.
^ Jump up to: a b Moore 2016, p. 202.
Jump up ^ Abebe, Nitsuh (24 October 2005), "Twee as Fuck: The Story of Indie Pop", Pitchfork Media, archived from the original on 24 February 2011
^ Jump up to: a b Christgau, Robert (2014). "Anti-Rockism's Hall of Fame". The Barnes & Noble Review. Retrieved August 18, 2015.
Jump up ^ Joan Serrà, Álvaro Corral, Marián Boguñá, Martín Haro & Josep Ll. Arcos, "Measuring the Evolution of Contemporary Western Popular Music", Nature.com, 26 July 2012. Retrieved 30 March 2016
^ Jump up to: a b John Matson, "Is Pop Music Evolving, or Is It Just Getting Louder?", Scientific American, 26 July 2012. Retrieved 30 March 2016
Jump up ^ McGee, Alan (August 20, 2008). "Madonna Pop Art". The Guardian. Retrieved April 17, 2013.
^ Jump up to: a b c d e D. Buckley, "Pop" "II. Implications of technology", Grove Music Online, retrieved 15 March 2010.
Jump up ^ Edmondson, Jacqueline, ed. (2013). Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture. ABC-CLIO. pp. 317, 1233. ISBN 978-0-313-39348-8.
^ Jump up to: a b Loss, Robert (August 10, 2015). "No Apologies: A Critique of the Rockist v. Poptimist Paradigm". PopMatters.
Jump up ^ J. Kun, Audiotopia: Music, Race, and America (Berkeley, CA: University of California Press, 2005), ISBN 0-520-24424-9, p. 201.
Jump up ^ "Star profiles" in S. Frith, W. Stray and J. Street, The Cambridge Companion to Pop and Rock (Cambridge University Press, 2001), ISBN 0-521-55660-0, pp. 199–200.
^ Jump up to: a b c P. Manuel, "Pop. Non-Western cultures 1. Global dissemination", Grove Music Online, retrieved 14 March 2010.
Jump up ^ K-Pop, la música y la moda 'rarita' coreana que arrasa la red | Moda | EL MUNDO; PATRICIA RIVERA; 03/12/2015
Jump up ^ Why aren’t there many mixed-gender K-pop groups? | SBS PopAsia
Further reading[edit]
This "further reading" section may contain inappropriate and/or excessive suggestions. Please ensure that only a reasonable number of balanced, topical, reliable, and notable further reading suggestions are given. Consider utilising appropriate texts as inline sources or creating a separate bibliography article. (December 2016)
Adorno, Theodor W., (1942) "On Popular Music", Institute of Social Research.
Bell, John L., (2000) The Singing Thing: A Case for Congregational Song, GIA Publications, ISBN 1-57999-100-9
Bindas, Kenneth J., (1992) America's Musical Pulse: Popular Music in Twentieth-Century Society, Praeger.
Clarke, Donald, (1995) The Rise and Fall of Popular Music, St Martin's Press. https://web.archive.org/web/20071231045026/http://www.musicweb.uk.net/RiseandFall/index.htm
Dolfsma, Wilfred, (1999) Valuing Pop Music: Institutions, Values and Economics, Eburon.
Dolfsma, Wilfred, (2004) Institutional Economics and the Formation of Preferences: The Advent of Pop Music, Edward Elgar Publishing.
Frith, Simon, Straw, Will, Street, John, eds, (2001), The Cambridge Companion to Pop and Rock, Cambridge University Press,
Frith, Simon (2004) Popular Music: Critical Concepts in Media and Cultural Studies, Routledge.
Gillett, Charlie, (1970) The Sound of the City. The Rise of Rock and Roll, Outerbridge & Dienstfrey.
Hatch, David and Stephen Millward, (1987), From Blues to Rock: an Analytical History of Pop Music, Manchester University Press, ISBN 0-7190-1489-1
Johnson, Julian, (2002) Who Needs Classical Music?: Cultural Choice and Musical Value, Oxford University Press, ISBN 0-19-514681-6.
Kent, Jeff, (1983) The Rise and Fall of Rock, Witan Books, ISBN 0-9508981-0-4.
Lonergan, David F., (2004) Hit Records, 1950–1975, Scarecrow Press, ISBN 0-8108-5129-6.
Maultsby, Portia K., (7907) Intra- and International Identities in American Popular Music, Trading Culture.
Middleton, Richard, (1990) Studying Popular Music, Open University Press.
Negus, Bob, (1999) Music Genres and Corporate Cultures, Routledge, ISBN 0-415-17399-X.
Pleasants, Henry (1969) Serious Music and All That Jazz, Simon & Schuster.
Roxon, Lillian, (1969) Rock Encyclopedia, Grosset & Dunlap.
Shuker, Roy, (2002) Popular Music: The Key Concepts, Routledge, (2nd edn.) ISBN 0-415-28425-2.
Starr, Larry & Waterman, Christopher, (2002) American Popular Music: From Minstrelsy to MTV, Oxford University Press.
Watkins, S. Craig, (2005) Hip Hop Matters: Politics, Pop Culture, and the Struggle for the Soul of a Movement, Beacon Press, ISBN 0-8070-0982-2.
External links[edit]
Wikiquote has quotations related to: Pop music
Wikimedia Commons has media related to Pop music.
The Consumption of Music and the Expression of Values: A Social Economic Explanation for the Advent of Pop Music, Wilfred Dolfsma, American Journal of Economics and Sociology, October 1999.
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text:
Friday the 13th
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the superstition. For information about horror on the 13th including the franchise, see Friday the 13th (franchise). For other uses, see Friday the 13th (disambiguation).
Friday the 13th in a calendar
Friday the 13th is considered an unlucky day in Western superstition. It occurs when the 13th day of the month in the Gregorian calendar falls on a Friday, which happens at least once every year but can occur up to three times in the same year.[1] In 2017, it occurred twice, on January 13 and October 13. In 2018, it will also occur twice on April 13 and July 13.[1] There will be two Friday the 13ths every year until 2020, where 2021 and 2022 will have just one occurrence, in August and May respectively.
Contents
[hide]
1 History
2 Tuesday the 13th in Hispanic and Greek culture
3 Friday the 17th in Italy
4 Social impact
4.1 Rate of accidents
5 Occurrence
5.1 Frequency
6 See also
7 References
8 See also
9 External links
History
The fear of the number 13 has been given a scientific name: "triskaidekaphobia"; and on analogy to this the fear of Friday the 13th is called paraskevidekatriaphobia, from the Greek words Paraskeví (Παρασκευή, meaning "Friday"), and dekatreís (δεκατρείς, meaning "thirteen").[2]
The Last Supper by Leonardo da Vinci
The superstition surrounding this day may have arisen in the Middle Ages, "originating from the story of Jesus' last supper and crucifixion" in which there were 13 individuals present in the Upper Room on the 13th of Nisan Maundy Thursday, the night before his death on Good Friday.[3][4] While there is evidence of both Friday[5] and the number 13 being considered unlucky, there is no record of the two items being referred to as especially unlucky in conjunction before the 19th century.[6][7][8]
An early documented reference in English occurs in Henry Sutherland Edwards' 1869 biography of Gioachino Rossini, who died on a Friday 13th:
He [Rossini] was surrounded to the last by admiring friends; and if it be true that, like so many Italians, he regarded Fridays as an unlucky day and thirteen as an unlucky number, it is remarkable that on Friday 13th of November he passed away.[9]
Rossini by Henri Grevedon
It is possible that the publication in 1907 of Thomas W. Lawson's popular novel Friday, the Thirteenth,[10] contributed to disseminating the superstition. In the novel, an unscrupulous broker takes advantage of the superstition to create a Wall Street panic on a Friday the 13th.[6]
A suggested origin of the superstition—Friday, 13 October 1307, the date Philip IV of France arrested hundreds of the Knights Templar—may not have been formulated until the 20th century. It is mentioned in the 1955 Maurice Druon historical novel The Iron King (Le Roi de fer), John J. Robinson's 1989 work Born in Blood: The Lost Secrets of Freemasonry, Dan Brown's 2003 novel The Da Vinci Code and Steve Berry's The Templar Legacy (2006).[2][11][12]
Tuesday the 13th in Hispanic and Greek culture
In Spanish-speaking countries, instead of Friday, Tuesday the 13th (martes trece) is considered a day of bad luck.[13]
The Greeks also consider Tuesday (and especially the 13th) an unlucky day.[14] Tuesday is considered dominated by the influence of Ares, the god of war (Mars in Roman mythology). The fall of Constantinople to the Fourth Crusade occurred on Tuesday, April 13, 1204, and the Fall of Constantinople to the Ottomans happened on Tuesday, 29 May 1453, events that strengthen the superstition about Tuesday. In addition, in Greek the name of the day is Triti (Τρίτη) meaning the third (day of the week), adding weight to the superstition, since bad luck is said to "come in threes".[14]
Tuesday the 13th occurs on a month starting on Thursday.
Friday the 17th in Italy
In Italian popular culture, Friday the 17th (and not the 13th) is considered a day of bad luck.[15] The origin of this belief could be traced in the writing of number 17, in Roman numerals: XVII. By shuffling the digits of the number one can easily get the word VIXI ("I have lived", implying death in the present), an omen of bad luck.[16] In fact, in Italy, 13 is generally considered a lucky number.[17] However, due to Americanization, young people consider Friday the 13th unlucky as well.[18]
The 2000 parody film Shriek If You Know What I Did Last Friday the Thirteenth was released in Italy with the title Shriek – Hai impegni per venerdì 17? ("Shriek – Do You Have Something to Do on Friday the 17th?").
Friday the 17th occurs on a month starting on Wednesday.
Social impact
According to the Stress Management Center and Phobia Institute in Asheville, North Carolina, an estimated 17 to 21 million people in the United States are affected by a fear of this day, making it the most feared day and date in history. Some people are so paralyzed by fear that they avoid their normal routines in doing business, taking flights or even getting out of bed. "It's been estimated that [US]$800 or $900 million is lost in business on this day".[7] Despite this, representatives for both Delta Air Lines and Continental Airlines (the latter now merged into United Airlines) have stated that their airlines do not suffer from any noticeable drop in travel on those Fridays.[19]
In Finland, a consortium of governmental and nongovernmental organizations led by the Ministry of Social Affairs and Health promotes the National Accident Day (kansallinen tapaturmapäivä) to raise awareness about automotive safety, which always falls on a Friday the 13th.[20] The event is coordinated by the Finnish Red Cross and has been held since 1995.[21]
Rate of accidents
A study in the British Medical Journal, published in 1993, concluded that there "is a significant level of traffic-related incidences on Friday the 13th as opposed to a random day, such as Friday the 6th, in the UK."[22] However, the Dutch Centre for Insurance Statistics on 12 June 2008 stated that "fewer accidents and reports of fire and theft occur when the 13th of the month falls on a Friday than on other Fridays, because people are preventatively more careful or just stay home. Statistically speaking, driving is slightly safer on Friday the 13th, at least in the Netherlands; in the last two years, Dutch insurers received reports of an average 7,800 traffic accidents each Friday; but the average figure when the 13th fell on a Friday was just 7,500."[23][24]
Occurrence
In years which begin on the same day of the week and are of the same type (that is, whether they are a common year or leap year), Friday the 13th occurs in the same months.
Months that have a Friday the 13th for each year from 1900 through 2100
Month
Years
Year category
Dominical letter
January 1905, 1911, 1922, 1928, 1933, 1939, 1950, 1956, 1961, 1967, 1978, 1984, 1989, 1995,
2006, 2012, 2017, 2023, 2034, 2040, 2045, 2051, 2062, 2068, 2073, 2079, 2090, 2096 Common: Sunday, Leap: Sunday A, AG
February 1903, 1914, 1920, 1925, 1931, 1942, 1948, 1953, 1959, 1970, 1976, 1981, 1987, 1998,
2004, 2009, 2015, 2026, 2032, 2037, 2043, 2054, 2060, 2065, 2071, 2082, 2088, 2093, 2099 Common: Thursday, Leap: Thursday D, DC
March 1903, 1908, 1914, 1925, 1931, 1936, 1942, 1953, 1959, 1964, 1970, 1981, 1987, 1992, 1998,
2009, 2015, 2020, 2026, 2037, 2043, 2048, 2054, 2065, 2071, 2076, 2082, 2093, 2099 Common: Thursday, Leap: Wednesday D, ED
April 1900, 1906, 1917, 1923, 1928, 1934, 1945, 1951, 1956, 1962, 1973, 1979, 1984, 1990,
2001, 2007, 2012, 2018, 2029, 2035, 2040, 2046, 2057, 2063, 2068, 2074, 2085, 2091, 2096 Common: Monday, Leap: Sunday G, AG
May 1904, 1910, 1921, 1927, 1932, 1938, 1949, 1955, 1960, 1966, 1977, 1983, 1988, 1994,
2005, 2011, 2016, 2022, 2033, 2039, 2044, 2050, 2061, 2067, 2072, 2078, 2089, 2095 Common: Saturday, Leap: Friday B, CB
June 1902, 1913, 1919, 1924, 1930, 1941, 1947, 1952, 1958, 1969, 1975, 1980, 1986, 1997,
2003, 2008, 2014, 2025, 2031, 2036, 2042, 2053, 2059, 2064, 2070, 2081, 2087, 2092, 2098 Common: Wednesday, Leap: Tuesday E, FE
July 1900, 1906, 1917, 1923, 1928, 1934, 1945, 1951, 1956, 1962, 1973, 1979, 1984, 1990,
2001, 2007, 2012, 2018, 2029, 2035, 2040, 2046, 2057, 2063, 2068, 2074, 2085, 2091, 2096 Common: Monday, Leap: Sunday G, AG
August 1909, 1915, 1920, 1926, 1937, 1943, 1948, 1954, 1965, 1971, 1976, 1982, 1993, 1999,
2004, 2010, 2021, 2027, 2032, 2038, 2049, 2055, 2060, 2066, 2077, 2083, 2088, 2094, 2100 Common: Friday, Leap: Thursday C, DC
September 1901, 1907, 1912, 1918, 1929, 1935, 1940, 1946, 1957, 1963, 1968, 1974, 1985, 1991, 1996,
2002, 2013, 2019, 2024, 2030, 2041, 2047, 2052, 2058, 2069, 2075, 2080, 2086, 2097 Common: Tuesday, Leap: Monday F, GF
October 1905, 1911, 1916, 1922, 1933, 1939, 1944, 1950, 1961, 1967, 1972, 1978, 1989, 1995,
2000, 2006, 2017, 2023, 2028, 2034, 2045, 2051, 2056, 2062, 2073, 2079, 2084, 2090 Common: Sunday, Leap: Saturday A, BA
November 1903, 1908, 1914, 1925, 1931, 1936, 1942, 1953, 1959, 1964, 1970, 1981, 1987, 1992, 1998,
2009, 2015, 2020, 2026, 2037, 2043, 2048, 2054, 2065, 2071, 2076, 2082, 2093, 2099 Common: Thursday, Leap: Wednesday D, ED
December 1901, 1907, 1912, 1918, 1929, 1935, 1940, 1946, 1957, 1963, 1968, 1974, 1985, 1991, 1996,
2002, 2013, 2019, 2024, 2030, 2041, 2047, 2052, 2058, 2069, 2075, 2080, 2086, 2097 Common: Tuesday, Leap: Monday F, GF
This sequence, given here for 1900–2099, follows a 28-year cycle from 1 March 1900 to 28 February 2100. The months with a Friday the 13th are determined by the Dominical letter (G, F, GF, etc.) of the year. Any month that starts on a Sunday contains a Friday the 13th, and there is at least one Friday the 13th in every calendar year. There can be as many as three Friday the 13ths in a single calendar year; either in February, March and November in a common year starting on Thursday (such as 2009, 2015 or 2026) (D), or January, April and July in a leap year starting on Sunday (such as 2012) (AG).
The longest period that occurs without a Friday the 13th is 14 months, either from July to September the following year being a common year starting on Tuesday (F) (e.g. 2001/02, 2012/13 and 2018/19), or from August to October the following year being a leap year starting on Saturday (BA) (e.g. 1999/2000 and 2027/28).
The shortest period that occurs with a Friday the 13th is just one month, from February to March in a common year starting on Thursday (D) (e.g. 2009, 2015 and 2026).
Each Gregorian 400-year cycle contains 146,097 days (with 97 leap days) or exactly 20,871 weeks. Therefore, each cycle contains the same pattern of days of the week and thus the same pattern of Fridays that are on the 13th. The 13th day of the month is slightly more likely to be a Friday than any other day of the week.[25][26] On average, there is a Friday the 13th once every 212.35 days, whereas Thursday the 13th occurs only once every 213.59 days.
Distribution of the 13th day over the 4,800 months
Day of the week
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
Sunday
Occurrences
685 685 687 684 688 684 687
Frequency
In the 2010s there were three Friday the 13ths in 2012 and 2015, and two in 2013. There will also be two 2017, 2018, 2019, and 2020.[27] In the 2020s, there will be three F13's in 2026, and two in 2020, 2023, 2024, 2029, and 2030.[27] The rest of years have at least one F13 if there are fewer than two or three in the 2010s and 2020s.[27] Assuming nothing is changed with the calendar there is never more than three F13s in year.[28] There is a 28-year cycle that repeats when there is a F13 in February, March and November, and the current start of that pattern was in 2009.[28] Although there is at least one F13 per calendar year, it can be as long as 14 months between two F13s.[29] For the details see the table below.
In Finland one F13 is chosen as National Accident Day to raise awareness about automotive safety, this is possible because there is at least one F13 each year.[28]
Year mod 28
1600 2000
1700 2100
1800 2200
1900 2300
Year mod 28
00 06 17 23 Jan Oct Feb Aug Jun Jan Apr Jul 00 06 17 23
01 07 12 18 Jan Apr Jul May Feb Mar Nov Sep Dec 01 07 12 18
02 13 19 24 Sep Dec Jan Oct Feb Aug Jun 02 13 19 24
03 08 14 25 Jun Jan Apr Jul May Feb Mar Nov 03 08 14 25
09 15 20 26 Feb Mar Nov Sep Dec Jan Oct Feb Aug 09 15 20 26
04 10 21 27 Feb Aug Jun Jan Apr Jul May 04 10 21 27
05 11 16 22 May Feb Mar Nov Sep Dec Jan Oct 05 11 16 22
The table is for the Gregorian calendar and Jan/Feb for leap years.
See also
Solar cycle (calendar)
References
^ Jump up to: a b "Months and Years having Friday the 13th".
^ Jump up to: a b Weisstein, Eric W. "Triskaidekaphobia on MathWorld". MathWorld. Retrieved 14 August 2010.
Jump up ^ DellaContrada, John (9 February 2004). "Fear of "Friday the 13th may likely have originated from Jesus' Last Supper and Crucifixion", Says UB Anthropologist". University at Buffalo, The State University of New York. Retrieved 13 July 2014. There were 13 people at the table (at the Last Supper) and the 13th was Jesus. The Last Supper was on a Thursday, and the next day was Friday, the day of crucifixion. When '13' and Friday come together, it is a double whammy.
Jump up ^ Hartston, Willam (1 June 2007). Encyclopedia of Useless Information. Sourcebooks, Incorporated. p. 365. ISBN 9781402248382. In Christian tradition, fear of Friday the 13th stems from the day of the Crucifixion (Friday) and the number at the Last Supper (13). Despite these origins, the Friday the 13th superstition dates back only to the Middle Ages.
Jump up ^ Friday has been considered an unlucky day to undertake journeys or begin new projects at least since the 14th century, as witnessed by Chaucer's Canterbury Tales.
^ Jump up to: a b Nathaniel Lachenmeyer, 13: The Story of the World's Most Popular Superstition ch. 5 (2004).
^ Jump up to: a b Roach, John (12 August 2004). "Friday the 13th Phobia Rooted in Ancient History". National Geographic News. Retrieved 29 October 2008.
Jump up ^ Clar, Mimi (1957). "Friday the 13th". Western Folklore: 62–63.
Jump up ^ Henry Sutherland Edwards, The Life of Rossini, Blackett, 1869, p.340.
Jump up ^ Thomas W. Lawson. "Thomas W. Lawson, ''Friday, the Thirteenth'' (1907)". Gutenberg.org. Retrieved 13 May 2011.
Jump up ^ "Friday the 13th". snopes.com. Retrieved 26 March 2007.
Jump up ^ "Why Friday the 13th Is Unlucky". Urbanlegends.about.com. Retrieved 13 May 2011.
Jump up ^ Rafael Falcón, Christine Yoder Falcón Salsa: a taste of Hispanic culture, p. 64, Praeger (1998), ISBN 0-275-96121-4
^ Jump up to: a b Chrysopoulos, Philip (13 October 2015). "Why Superstitious Greeks Fear Tuesday the 13th". Greek Reporter. Retrieved 31 October 2016.
Jump up ^ Carlo Grande (17 February 2012). "Venerdì 17 porta davvero sfortuna?" (in Italian). La Stampa. Retrieved 31 March 2012.
Jump up ^ Nick Harris (15 November 2007). "Bad omen for Italy as their unlucky number comes up". The Independent. Retrieved 15 February 2015.
Jump up ^ "Venerdì 13 porta (s)fortuna? Non in Italia" (in Italian). cafebabel.com. Retrieved 31 March 2012.
Jump up ^ "Venerdì 13 è un giorno che porta sfortuna – Mara rimanda le nozze con Mezzaroma" (in Italian). Corriere del Mezzogiorno. 1 February 2011. Retrieved 31 March 2012.
Jump up ^ Josh Sens, "Some Don't Count on lucky", Via Magazine, January 2004.
Jump up ^ "Archived copy". Archived from the original on 29 April 2014. Retrieved 2014-04-28.
Jump up ^ "Mikä on Tapaturmapäivä?". www.kotitapaturma.fi (in Finnish). Retrieved 2018-01-09.
Jump up ^ Roach, John. "Friday the 13th Phobia Rooted in Ancient History". National Geographic Society. Retrieved 15 June 2014. According to a 1993 study in the British Medical Journal, however, there is a significant level of traffic-related incidences on Friday the 13th as opposed to a random day, such as Friday the 6th, in the UK.
Jump up ^ Mirror.co.uk, "Friday 13th is no longer unlucky".
Jump up ^ Editorial, Reuters. "Friday 13th not more unlucky, Dutch study shows".
Jump up ^ Bodin, Magnus (13 November 1998). "About the date+day-distribution along the epoch". x42. Retrieved 30 January 2014.
Jump up ^ B.H. Brown and Raphael Robinson, "Solution to Problem E36", American Mathematical Monthly, vol. 40, issue 10 (1933), p. 607; Jean Meeus, Mathematical Astronomy Morsels IV, 2007, p. 367.
^ Jump up to: a b c "Months and Years having Friday the 13th".
^ Jump up to: a b c "13 Facts About Friday the 13th".
Jump up ^ "Johns Hopkins Magazine".
See also
F13
Tycho Brahe days
Frigg
Chronophobia
External links
Look up paraskavedekatriaphobia in Wiktionary, the free dictionary.
Wikiquote has quotations related to: Friday the 13th
Some don't count on Lucky 13 – Via Magazine
Calendar Showing Friday 13s, Robslink.com
S&P 500 Performance on Friday 13s, dailyspeculations.com
All Ords Performance on Friday 13s, asxiq.com
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