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J
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This article is about the letter J of the alphabet. For other uses, see J (disambiguation).
For technical reasons, "J#" redirects here. For the programming language, see J Sharp.
ISO basic
Latin alphabet
Aa Bb Cc Dd
Ee Ff Gg Hh
Ii Jj Kk Ll
Mm Nn Oo Pp
Qq Rr Ss Tt
Uu Vv Ww Xx
Yy Zz
v
t
e
Writing cursive forms of J
J is the tenth letter in the modern English alphabet and the ISO basic Latin alphabet. Its normal name in English is jay /dʒeɪ/ or, now uncommonly, jy /dʒaɪ/.[1][2] When used for the palatal approximant, it may be called yod (/jɒd/ or /joʊd/) or yot (/jɒt/ or /joʊt/).
Contents
[hide]
1 History
2 Use in writing systems
2.1 English
2.2 Other languages
2.2.1 Germanic and Eastern-European languages
2.2.2 Romance languages
2.2.3 Basque
2.2.4 Non-European languages
3 Related characters
4 Computing codes
4.1 Wingdings smiley issue
5 Other uses
6 Other representations
7 References
8 External links
History[edit]
The letter J originated as a swash letter I, used for the letter I at the end of Roman numerals when following another I, as in XXIIJ or xxiij instead of XXIII or xxiii for the Roman numeral representing 23. A distinctive usage emerged in Middle High German.[3] Gian Giorgio Trissino (1478–1550) was the first to explicitly distinguish I and J as representing separate sounds, in his Ɛpistola del Trissino de le lettere nuωvamente aggiunte ne la lingua italiana ("Trissino's epistle about the letters recently added in the Italian language") of 1524.[4] Originally, 'I' and 'J' were different shapes for the same letter, both equally representing /i/, /iː/, and /j/; but, Romance languages developed new sounds (from former /j/ and /ɡ/) that came to be represented as 'I' and 'J'; therefore, English J, acquired from the French J, has a sound value quite different from /j/ (which represents the initial sound in the English word "yet").
Use in writing systems[edit]
English[edit]
In English, ⟨j⟩ most commonly represents the affricate /dʒ/. In Old English, the phoneme /dʒ/ was represented orthographically with ⟨cg⟩ and ⟨cȝ⟩.[5] Under the influence of Old French, which had a similar phoneme deriving from Latin /j/, English scribes began to use ⟨i⟩ (later ⟨j⟩) to represent word-initial /dʒ/ in Old English (for example, iest and, later jest), while using ⟨dg⟩ elsewhere (for example, hedge).[5] Later, many other uses of ⟨i⟩ (later ⟨j⟩) were added in loanwords from French and other languages (e.g. adjoin, junta). The first English language book to make a clear distinction between ⟨i⟩ and ⟨j⟩ was published in 1633.[6] In loan words such as raj, ⟨j⟩ may represent /ʒ/. In some of these, including raj, Azerbaijan, Taj Mahal, and Beijing, the regular pronunciation /dʒ/ is actually closer to the native pronunciation, making the use of /ʒ/ an instance of a hyperforeignism.[7] Occasionally, ⟨j⟩ represents the original /j/ sound, as in Hallelujah and fjord (see Yodh for details). In words of Spanish origin, where ⟨j⟩ represents the voiceless velar fricative [x] (such as jalapeño), English speakers usually approximate with the voiceless glottal fricative /h/.
In English, ⟨j⟩ is the fourth least frequently used letter in words, being more frequent only than ⟨z⟩, ⟨q⟩, and ⟨x⟩. It is, however, quite common in proper nouns, especially personal names.
Other languages[edit]
Germanic and Eastern-European languages[edit]
Pronunciation of written <j> in European languages
The great majority of Germanic languages, such as German, Dutch, Icelandic, Swedish, Danish and Norwegian, use ⟨j⟩ for the palatal approximant /j/, which is usually represented by the letter ⟨y⟩ in English. Notable exceptions are English, Scots and (to a lesser degree) Luxembourgish. ⟨j⟩ also represents /j/ in Albanian, and those Uralic, Slavic and Baltic languages that use the Latin alphabet, such as Hungarian, Finnish, Estonian, Polish, Czech, Serbo-Croatian, Slovak, Latvian and Lithuanian. Some related languages, such as Serbo-Croatian and Macedonian, also adopted ⟨j⟩ into the Cyrillic alphabet for the same purpose. Because of this standard, the lower case letter was chosen to be used in the IPA as the phonetic symbol for the sound.
Romance languages[edit]
In the Romance languages, ⟨j⟩ has generally developed from its original palatal approximant value in Latin to some kind of fricative. In French, Portuguese, Catalan, and Romanian it has been fronted to the postalveolar fricative /ʒ/ (like ⟨s⟩ in English measure). In Spanish, by contrast, it has been both devoiced and backed from an earlier /ʝ/ to a present-day /x ~ h/,[8] with the actual phonetic realization depending on the speaker's dialect/s.
In modern standard Italian spelling, only Latin words, proper nouns (such as Jesi, Letojanni, Juventus etc.) or those borrowed from foreign languages have ⟨j⟩. Until the 19th century, ⟨j⟩ was used instead of ⟨i⟩ in diphthongs, as a replacement for final -ii, and in vowel groups (as in Savoja); this rule was quite strict for official writing. ⟨j⟩ is also used to render /j/ in dialect, e.g. Romanesque ajo for standard aglio (–/ʎ/–) (garlic). The Italian novelist Luigi Pirandello used ⟨j⟩ in vowel groups in his works written in Italian; he also wrote in his native Sicilian language, which still uses the letter ⟨j⟩ to represent /j/ (and sometimes also [dʒ] or [gj], depending on its environment).[9]
Basque[edit]
In Basque, the diaphoneme represented by ⟨j⟩ has a variety of realizations according to the regional dialect: [gʰ, kʰ, j, ʝ, ɟ, ʒ, ʃ, x] (the last one is typical of Gipuzkoa).
Non-European languages[edit]
Among non-European languages that have adopted the Latin script, ⟨j⟩ stands for /ʒ/ in Turkish and Azerbaijani, for /ʐ/ in Tatar. ⟨j⟩ stands for /dʒ/ in Indonesian, Somali, Malay, Igbo, Shona, Oromo, Turkmen, and Zulu. It represents a voiced palatal plosive /ɟ/ in Konkani, Yoruba, and Swahili. In Kiowa, ⟨j⟩ stands for a voiceless alveolar plosive, /t/.
In Chinese Pinyin, ⟨j⟩ stands for /tɕ/, the unaspirated equivalent of ⟨q⟩.
The Royal Thai General System of Transcription does not use the letter ⟨j⟩, although it is used in some proper names and non-standard transcriptions to represent either จ [tɕ] or ช [tɕʰ] (the latter following Pali/Sanskrit root equivalents).
In romanized Pashto, ⟨j⟩ represents ځ, pronounced [dz].
Related characters[edit]
𐤉 : Semitic letter Yodh, from which the following symbols originally derive
I i : Latin letter I, from which J derives
ȷ : Dotless j
ᶡ : Modifier letter small dotless j with stroke[10]
ᶨ : Modifier letter small j with crossed-tail[10]
IPA-specific symbols related to J: ʝ ɟ ʄ ʲ
Uralic Phonetic Alphabet-specific symbols related to J: U+1D0A ᴊ LATIN LETTER SMALL CAPITAL J[11], U+1D36 ᴶ MODIFIER LETTER CAPITAL J[11], and U+2C7C ⱼ LATIN SUBSCRIPT SMALL LETTER J[12]
J with diacritics: Ĵ ĵ ǰ Ɉ ɉ J̃ j̇̃
Computing codes[edit]
Character
J
j
ȷ
Unicode name LATIN CAPITAL LETTER J LATIN SMALL LETTER J LATIN SMALL LETTER DOTLESS J
Encodings
decimal
hex
decimal
hex
decimal
hex
Unicode 74 U+004A 106 U+006A 567 U+0237
UTF-8 74 4A 106 6A 200 183 C8 B7
Numeric character reference J J j j ȷ ȷ
EBCDIC family 209 D1 145 91
ASCII 1 74 4A 106 6A
1 Also for encodings based on ASCII, including the DOS, Windows, ISO-8859 and Macintosh families of encodings.
Unicode also has a dotless variant, ȷ (U+0237). It is primarily used in Landsmålsalfabet and in mathematics. It is not intended to be used with diacritics since the normal j is softdotted in Unicode (that is, the dot is removed if a diacritic is to be placed above; Unicode further states that, for example i+ ¨ ≠ ı+¨ and the same holds true for j and ȷ).[13]
In Unicode, a duplicate of 'J' for use as a special phonetic character in historical Greek linguistics is encoded in the Greek script block as ϳ (Unicode U+03F3). It is used to denote the palatal glide /j/ in the context of Greek script. It is called "Yot" in the Unicode standard, after the German name of the letter J.[14][15] An uppercase version of this letter was added to the Unicode Standard at U+037F with the release of version 7.0 in June 2014.[16][17]
Wingdings smiley issue[edit]
In the Wingdings font by Microsoft, the letter "J" is rendered as a smiley face (note this is distinct from the Unicode code point U+263A, which renders as ☺). In Microsoft applications, ":)" is automatically replaced by a smiley rendered in a specific font face when composing rich text documents or HTML email. This autocorrection feature can be switched off or changed to a Unicode smiley.[18] [19]
Other uses[edit]
In international licence plate codes, J stands for Japan.
In mathematics, j is one of the three imaginary units of quaternions.
In the Metric system, J is the symbol for the joule, the SI derived unit for energy.
In physics, electrical engineering and related fields, j is the symbol for the imaginary unit (the square root of -1) (in other fields the letter i is used, but this would be ambiguous as it is also the symbol for current).
A J can be a slang term for a spliff (marijuana cigarette)
Other representations[edit]
NATO phonetic Morse code
Juliet ·–––
Signal flag Flag semaphore American manual alphabet (ASL fingerspelling) Braille
dots-245
References[edit]
Jump up ^ "J", Oxford English Dictionary, 2nd edition (1989)
Jump up ^ "J" and "jay", Merriam-Webster's Third New International Dictionary of the English Language, Unabridged (1993)
Jump up ^ "Wörterbuchnetz". Retrieved 22 December 2016.
Jump up ^ De le lettere nuωvamente aggiunte ne la lingua Italiana in Italian Wikisource.
^ Jump up to: a b Hogg, Richard M.; Norman Francis Blake; Roger Lass; Suzanne Romaine; R. W. Burchfield; John Algeo (1992). The Cambridge History of the English Language. Cambridge University Press. p. 39. ISBN 0-521-26476-6.
Jump up ^ English Grammar, Charles Butler, 1633
Jump up ^ Wells, John (1982). Accents of English 1: An Introduction. Cambridge, UN: Cambridge University Press. p. 108. ISBN 0-521-29719-2.
Jump up ^ Penny, Ralph John (2002). A History of the Spanish Language. Cambridge, UK: Cambridge University Press. ISBN 0-521-01184-1.
Jump up ^ Cipolla, Gaetano (2007). The Sounds of Sicilian: A Pronunciation Guide. Mineola, NY: Legas. pp. 11–12. Retrieved 2013-03-31.
^ Jump up to: a b Constable, Peter (2004-04-19). "L2/04-132 Proposal to add additional phonetic characters to the UCS" (PDF).
^ Jump up to: a b Everson, Michael; et al. (2002-03-20). "L2/02-141: Uralic Phonetic Alphabet characters for the UCS" (PDF).
Jump up ^ Ruppel, Klaas; Rueter, Jack; Kolehmainen, Erkki I. (2006-04-07). "L2/06-215: Proposal for Encoding 3 Additional Characters of the Uralic Phonetic Alphabet" (PDF).
Jump up ^ The Unicode Standard, Version 8.0, p. 293 (at the very bottom)
Jump up ^ Nick Nicholas, "Yot" Archived 2012-08-05 at Archive.is
Jump up ^ "Unicode Character 'GREEK LETTER YOT' (U+03F3)". Retrieved 22 December 2016.
Jump up ^ "Unicode: Greek and Coptic" (PDF). Retrieved 2014-06-26.
Jump up ^ "Unicode 7.0.0". Unicode Consortium. Retrieved 2014-06-26.
Jump up ^ Pirillo, Chris (26 June 2010). "J Smiley Outlook Email: Problem and Fix!". Retrieved 22 December 2016.
Jump up ^ Chen, Raymond (23 May 2006). "That mysterious J". The Old New Thing. MSDN Blogs. Retrieved 2011-04-01.
External links[edit]
Wikimedia Commons has media related to J.
The dictionary definition of J at Wiktionary
The dictionary definition of j at Wiktionary
"J". Encyclopædia Britannica. 15 (11th ed.). 1911.
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text:
Medium of exchange
From Wikipedia, the free encyclopedia
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A medium of exchange is a tradeable entity used to avoid the inconveniences of a pure barter system. The role of medium of exchange is one of the uses of money.
By contrast, as Othien James Jevons argued, in a barter system there must be a coincidence of wants before two people can trade – one must want exactly what the other has to offer, when and where it is offered, so that the exchange can occur. A medium of exchange permits the value of goods to be assessed and rendered in terms of the intermediary, most often, a form of money widely accepted to buy any other good.
Contents
[hide]
1 Definition
2 Requisites needed
3 See also
4 References
5 Bibliography
6 External links
Definition[edit]
Fiat currencies are the generally accepted mediums of exchange. Their most important and essential function is to provide a 'measure of value'...[1][2] Hifzur Rab has shown that the market measures or sets the real value of various goods and services using the medium of exchange as unit of measure i.e., standard or the yard stick of measurement of wealth. There is no other alternative to the mechanism used by the market to set, determine, or measure the value of various goods and services. Determination of price is an essential condition for justice in exchange, efficient allocation of resources, economic growth, welfare and justice. The most important and essential function of a medium of exchange is to be widely acceptable and have relatively stable purchasing power (real value). Therefore, it should possess the following characteristics:
Value common assets
Common and accessible
Constant utility
Low cost of preservation
Transportability
Divisibility
High market value in relation to volume and weight
Recognisability
Resistance to counterfeiting
To serve as a measure of value, a medium of exchange, be it a good or signal, needs to have constant inherent value of its own or it must be firmly linked to a definite basket of goods and services. It should have constant intrinsic value and stable purchasing power. Gold was long popular as a medium of exchange and store of value because it was inert, was convenient to move due to even small amounts of gold having considerable value, and had a constant value due to its special physical and chemical properties.
Critics of the prevailing system of fiat money argue that fiat money is the root cause of the continuum of economic crises, since it leads to the dominance of fraud, corruption, and manipulation precisely because it does not satisfy the criteria for a medium of exchange cited above. Specifically, prevailing fiat money is free floating and depending upon its supply market finds or sets a value to it that continues to change as the supply of money is changed with respect to the economy's demand. Increasing free floating money supply with respect to needs of the economy reduces the quantity of the basket of the goods and services to which it is linked by the market and that provides it purchasing power. Thus it is not a unit or standard measure of wealth and its manipulation impedes the market mechanism by that it sets/determine just prices. That leads us to a situation where no value-related economic data is just or reliable.[3][4] On the other hand, Chartalists claim that the ability to manipulate the value of fiat money is an advantage, in that fiscal stimulus is more easily available in times of economic crisis.
Requisites needed[edit]
Although the unit of account must be in some way related to the medium of exchange in use, e.g. coinage should be in denominations of that unit making accounting much easier to perform, it has often been the case that media of exchange have no natural relationship to that unit, and must be 'minted' or in some way marked as having that value. Also there may be variances in quality of the underlying good which may not have fully agreed commodity grading. The difference between the two functions becomes obvious when one considers the fact that coins were very often 'shaved', precious metal removed from them, leaving them still useful as an identifiable coin in the marketplace, for a certain number of units in trade, but which no longer had the quantity of metal supplied by the coin's minter. It was observed as early as Oresme, Copernicus and then in 1558 by Sir Thomas Gresham, that bad money drives out good in any marketplace (Gresham's Law states "Where legal tender laws exist, bad money drives out good money"). A more precise definition is this: "A currency that is artificially overvalued by law will drive out of circulation a currency that is artificially undervalued by that law." Gresham's law is therefore a specific application of the general law of price controls. A common explanation is that people will always keep the less adultered, less clipped, sweated, less filed, less trimmed coin, and offer the other in the marketplace for the full units for which it is marked. It is inevitably the bad coins proffered, good ones retained.
The fact that a bank or mint has always been able to generate a medium of exchange marked for more units than it is worth as a store of value, is the basis of banking.[dubious – discuss] Central banking is based on the principle that no medium needs more than the guarantee of the state that it can be redeemed for payment of debt as "legal tender" – thus, all money equally backed by the state is good money, within that state.[dubious – discuss] As long as that state produces anything of value to others, its medium of exchange has some value, and its currency may also be useful as a standard of deferred payment among others, even those who never deal with that state directly in foreign exchange.
Of all functions of money, the medium of exchange function has historically been the most problematic because of counterfeiting, the systematic and deliberate creation of bad money with no authorization to do so, leading to the driving out of the good money entirely.
Other functions rely not on recognition of some token or weight of metal in a marketplace, where time to detect any counterfeit is limited and benefits for successful passing-off are high, but on more stable long term social contracts: one cannot easily force a whole society to accept a different standard of deferred payment, require even small groups of people to uphold a floor price for a store of value, still less to re-price everything and rewrite all accounts to a unit of account (the most stable function). Thus it tends to be the medium of exchange function that constrains what can be used as a form of financial capital.
It was once common in the United States to widely accept a check (cheque) as a medium of exchange, several parties endorsing it perhaps multiple times before it would eventually be deposited for its value in units of account, and thus redeemed. This practice became less common as it was exploited by forgers and led to a domino effect of bounced checks – a forerunner of the kind of fragility that electronic systems would eventually bring.
In the age of electronic money it was, and remains, common to use very long strings of difficult-to-reproduce numbers, generated by encryption methods, to authenticate transactions and commitments as having come from trusted parties. Thus the medium of exchange function has become wholly a part of the marketplace and its signals, and is utterly integrated with the unit of account function, so that, given the integrity of the public key system on which these are based, they become to that degree inseparable. This has clear advantages – counterfeiting is difficult or impossible unless the whole system is compromised, say by a new factoring algorithm. But at that point, the entire system is broken and the whole infrastructure is obsolete – new keys must be re-generated and the new system will also depend on some assumptions about difficulty of factoring.
Due to this inherent fragility, which is even more profound with electronic voting, some economists argue that units of account should not ever be abstracted or confused with the nominal units or tokens used in exchange. A medium is just that, a medium, and should not be confused for the message.[dubious – discuss]
See also[edit]
Authentication
Check
Commodity money
Forgery
History of money
Identity theft
Private currency
References[edit]
Jump up ^ 1. encarta.msn.com/dictionary_561547517/measure_of_value.html - Cached
Jump up ^ glossary.econguru.com/economic-term/measure+of+value - Cached
Jump up ^ Hifzur Rab (2009) 'Freedom, Justice and Peace Possible Only with Correct wealth measurement with a Unit of Wealth as Currency' HIJSE 26:1, 2010
Jump up ^ Hifzur Rab (2006) 'Economic Justice in Islam' AS Noordeen, Kuala Lumpur, Malaysia.
Bibliography[edit]
Jones, Robert A. "The Origin and Development of Media of Exchange." Journal of Political Economy 84 (Nov. 1976): 757-775.
External links[edit]
Linguistic and Commodity Exchanges-Examines the structural differences between barter and monetary commodity exchanges and oral and written linguistic exchanges.
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text:
Field goal range
From Wikipedia, the free encyclopedia
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Field goal range is the part of the field in American football where there is a good chance that a field goal attempt will be successful.
A field goal is normally 17 yards (7 yards in Canadian football) longer than the distance of the line of scrimmage to the goal line, as it includes the end zone (10 yards) and 7 yards to where the holder places the ball. In Canadian football, the goal posts are on the goal lines, in front of the end zones. Therefore, if the line of scrimmage is at the 30, the field goal would be 47 yards (in American football) or 37 yards (in Canadian football).
Contents
[hide]
1 Average field goal range
2 Kicking versus punting
3 Record holders
4 Drop kicks
5 References
6 External links
Average field goal range[edit]
The exact field goal range varies for each team, depending on the ability of the team's placekicker.[1] While some weaker placekickers may have trouble kicking field goals longer than 30 yards (making field goals from beyond the 13 difficult), others may consistently make 50-yarders, making it practical to kick from beyond the 33. For most NFL kickers, the 35-yard line is typically the limit of their field goal range.[2] Weather conditions, particularly wind, also have a significant impact on field goal range; kicking with the wind at the kicker's back significantly increases field goal range, while kicking against the wind or with a stiff crosswind will greatly reduce the kicker's effective range, while generally there is no advantage beyond assured targeting of a kick if a game is being played indoors. Altitude also affects kicking range; both the longest punt in NFL history and three of the longest field goals in NFL history took place in Denver, Colorado, which is more than 4,000 feet (1,200 m) higher in elevation than the next-highest NFL city (the Phoenix suburb of Glendale, Arizona). From the 1970s through the 1990s, artificial turf improved a kicker's field goal range by having less friction during the kick; one of the reasons Scott Norwood missed the game-winning kick in Super Bowl XXV was that he kicked on artificial turf in Buffalo and struggled with longer field goals on natural grass throughout his career, and Super Bowl XXV was played on a grass surface. (Modern artificial turf, which has similar depth and characteristics to natural grass, does not have an appreciable effect on kicking range.)
In high school football, players are permitted to kick off special flat kicking tees up to two inches high. The NCAA banned the use of kicking tees in 1989. Most of the longer-range field goals in NCAA history were kicked prior to the elimination of tees; the use of tees allowed the ball to be elevated out of the field's grass or turf, reducing friction in the opening milliseconds of the kick and allowing for longer kicks.
Kicking versus punting[edit]
If a kicker is outside of field goal range, teams will generally punt. However, punting too close to the end zone increases the risk of a touchback, which nullifies most of the effect of the punt. Thus, teams who face a fourth down between the 35 and 40 yard lines (closer in a crosswind) often will go for the more risky fourth down conversion rather than risk either the touchback or the missed field goal.[citation needed]
Record holders[edit]
The longest field goal in recorded football history was 69 yards, set by collegiate kicker Ove Johansson, who was born in Sweden, in a 1976 Abilene Christian University football game against East Texas State University (now Texas A&M Commerce) at Shotwell Stadium in Abilene.[3] The longest successful field goal in the NFL was 64 yards and was completed by Matt Prater in 2013. The NCAA record is 67 yards held by 3 kickers, Russell Erxleben of Texas, Steve Little of Arkansas and Joe Williams of Wichita State University. All three of those kickers achieved that feat in the 1977-1978 college seasons. Notably, Johansson, Erxleben and Little all failed dramatically when they entered the NFL— Johansson's failure was due to an injury, but the other two were first-round draft busts.
The CFL record is 62 yards held by Paul McCallum, the NFL preseason record 65 yards held by Ola Kimrin, the independent amateur record (as well as the record without the aid of a tee; tees are not allowed in the NFL and have been banned from NCAA since 1989) is 68 yards held by Fabrizio Scaccia, and the high school record 68 yards held by Dirk Borgognone; high school has wider goal posts and treats a field goal attempt that lands short in the field of play the same as a punt, making longer attempts much less risky. The indoor football record, with narrower and higher goal posts, is 63 yards (set by Aaron Mills), which is practically as long of a field goal as is possible in that variant of the sport, since the field in indoor football (including both end zones) is only 66 yards. Scaccia, while playing indoor football, attempted a 64-yard kick that was inches short of success, hitting the crossbar. Longer field goals have been attempted at times; the longest attempt in the NFL, which was well short and was kicked into the wind, was 76 yards, attempted by Sebastian Janikowski of the Oakland Raiders, in a September 28, 2008 game against the San Diego Chargers.
NFL Europe rewarded kickers that successfully kicked a field goal of longer than 50 yards with a bonus point, making such field goals worth 4 points instead of 3; this rule has since been adopted by the Stars Football League.
The shortest possible field goal under current strategies is slightly over 17 yards in American football and 8 yards in Canadian football (Canadian football requires the ball to be snapped at least one yard away from the end zone). Theoretically, a field goal could be attempted from a shorter distance as long as the holder stays behind the line of scrimmage (or via a drop kick at any point on the field), but in practice this has never happened.
Drop kicks[edit]
It has been surmised that a drop kick has a slightly longer range than the standard place kick, but since these kicks are so rare, that is not known for sure. During the early NFL era, this was generally true, and drop kicks were the norm for longer field goals; in fact, the first unofficial NFL record kick of 55 yards, set by Paddy Driscoll in 1924, was indeed set by drop kick.
The only successful drop kick in the NFL since the 1941 NFL Championship Game was by Doug Flutie, the backup quarterback of the New England Patriots, against the Miami Dolphins on January 1, 2006, for an extra point after a touchdown. Flutie had estimated "an 80 percent chance" of making the drop kick, which was called to give Flutie, 43 at the time, the opportunity to make a historic kick in his final NFL game, the drop kick being his last play in the NFL. After the game, New England coach Bill Belichick said, "I think Doug deserves it," and Flutie said, "I just thanked him for the opportunity." The kick was executed from 27 yards out (Flutie stood in a punter position, 15 yards behind the line of scrimmage). Drew Brees, a former teammate of Flutie's, attempted a drop-kicked extra point from the same position during the poorly received 2012 Pro Bowl; his kick, however, fell short.
References[edit]
Jump up ^ Fantasy Football For Dummies - Martin Signore - Google Boeken. Books.google.com. Retrieved 2012-11-23.
Jump up ^ The Complete Idiot's Guide to Football, 2nd Edition - Joe Theismann, Brian Tarcy, Brian Tarcy - Google Boeken. Books.google.com. Retrieved 2012-11-23.
Jump up ^ http://www.reporternews.com/news/local/35-years-later-no-kicker-has-topped-69-yarder-by-acus-johansson-ep-387290775-349692391.html
External links[edit]
Video of Johannson's 69 yard kick for Abilene Christian in 1976
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Day-O (The Banana Boat Song)
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"Day-O" redirects here. For the television film, see Day-O (film).
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"Day-O (The Banana Boat Song)"
Single by Harry Belafonte
from the album Calypso
B-side
"Star-O"
Released
1957
Format
Vinyl record (7", 10")
Recorded
1955
Studio
Grand Ballroom, Webster Hall, New York City
Genre
Mento
Length
3:02
Label
RCA Victor
Harry Belafonte singles chronology
"Mary's Boy Child"
(1954) "Day-O (The Banana Boat Song)"
(1957) "Hold 'Em Joe"
(1957)
"Day-O (The Banana Boat Song)" is a traditional Jamaican folk song; the best-known version was released by Jamaican-American singer Harry Belafonte in 1956 and later became one of his signature songs. That same year The Tarriers released an alternative version that incorporated the chorus of another Jamaican folk song, "Hill and Gully Rider". The Tarriers version was later recorded by Shirley Bassey. Other recordings were made of the song in 1956–57, as well as later. Song is in Just Dance Kids 2014 and on Just Dance Unlimited for Just Dance 2017 and Just Dance 2018
The song has mento influences, but "Day-O (The Banana Boat Song)" was commonly classified as an example of the better known calypso music. It is a work song, from the point of view of dock workers working the night shift loading bananas onto ships. Daylight has come, the shift is over, and they want their work to be counted up so that they can go home.[citation needed]
Contents
[hide]
1 Origins
2 Covers
3 Parodies and alternate lyrics
4 Samples and interpolations
5 In film and television
6 References
7 External links
Origins[edit]
The song originated as a Jamaican folk song. It was thought to be sung by Jamaican banana workers, with a repeated melody and refrain (call and response); to each set lyric, the workers made a response. There were numerous versions of lyrics, some likely improvised on the spot by the singers. The song was probably created around the second half of the nineteenth century or the first half of twentieth century, where there was a rise of the banana trade in Jamaica.
The song was first recorded by Trinidadian singer Edric Connor and his band "Edric Connor and the Caribbeans" on the 1952 album Songs From Jamaica; the song was called "Day Dah Light".[1] Belafonte based his version on Connor's 1952 and Louise Bennett's 1954 recordings.[2][3]
In 1955, American singer/songwriters Lord Burgess and William Attaway wrote a version of the lyrics for the Colgate Comedy Hour, in which the song was performed by Harry Belafonte.[4] Belafonte recorded the song for RCA Victor and this is the version that is best known to listeners today, as it reached number five on the Billboard charts in 1957 and later became Belafonte's signature song. Side two of Belafonte's 1956 Calypso album opens with "Star O", a song referring to the day shift ending when the first star is seen in the sky. During recording, when asked for its title, Harry spells, "Day Done Light".
Also in 1956, folk singer Bob Gibson, who had travelled to Jamaica and heard the song, taught his version to the folk band The Tarriers. They recorded a version of that song that incorporated the chorus of "Hill and Gully Rider", another Jamaican folk song. This release became their biggest hit, reaching number four on the pop charts, where it outperformed Belafonte's version. The Tarriers' version was recorded by Shirley Bassey in 1957 and it became a hit in the United Kingdom.[5] The Tarriers, or some subset of the three members of the group (Erik Darling, Bob Carey and Alan Arkin, later better known as an actor) are sometimes credited as the writers of the song; their version combined elements of another song and was thus newly created.
Covers[edit]
Sarah Vaughan recorded the song for Mercury Records in 1956.
The Fontane Sisters mimicked The Tarriers version in a recording of the song for Dot Records in 1956. It charted to number 13 in the US in 1957.
Barry Frank released a version for Bell in 1957.[6]
Jimmie Rodgers recorded the song for Dot Records which was released in September, 1963.[7]
Jamaican singer Shaggy recorded a dancehall version for his 1995 album Boombastic.
Children's singer Raffi recorded this song on his 1980 album, Baby Beluga; his version replaces the line "I work all night on a drink of rum" with "I work all night 'til the morning come", and the line "Hide the deadly black taranch-la" with "A beautiful bunch o' ripe banana!"
The Kidsongs Kids sing this song on "I'd Like to Teach the World to Sing". There is also an instrumental outro as heard on CDs and cassettes.
The Polish sea-shanty band Banana Boat sings this song on their 2004 album "A morze tak, a może nie".
Chuck Brown & the Soul Searchers performed a go-go rendition for the album Go Go Swing Live (1986).
Hasil Adkins recorded a rockabilly version of this song that was included on the 1990 Norton Records album, Peanut Butter Rock and Roll.
British new wave band The Police were known to include snippets of the song during early live performances of their own track 'Reggatta de Blanc'.
German dance band Scooter made a cover version of the song in 2003. Originally, it was intended to release as a Ratty track but the plan cancelled and the song released under the name "Beetle Juice pres. Rick Maniac & Dr. Loop".
Australian children's entertainers The Wiggles cover it in their 2008 album You Make Me Feel Like Dancing.
The Kinks did a semi-serious version on the 1972 album Everybody's in Show-Biz
Bunker Beach waterpark has a rotating music set, called Splash Radio which includes a version of this song.
Gregory Isaacs covered the song under the "Day-O (The Banana Boat Song)" title.
The Techniques covered the song in 1967.
Italian singer Mina covered the song under the title "Banana Boat" on the 1984 album Catene.
Parodies and alternate lyrics[edit]
"Banana Boat (Day-O)" by Stan Freberg, released in 1957 by Capitol Records, features ongoing disagreement between an enthusiastic Jamaican lead singer and a bongo-playing beatnik (Peter Leeds) who "don't dig loud noises" and has the catchphrase "You're too loud, man". When he hears the lyric about the "deadly black taranch-la" (actually the highly venomous Brazilian wandering spider, commonly dubbed "banana spider"), the beatnik protests, "No, man! Don't sing about spiders, I mean, oooo! like I don't dig spiders".[8] Stan Freberg's version was the basis for the jingle for the TV advert for the UK chocolate bar Trio from the mid-1980s to the early to mid-1990s, the lyrics being, "Trio, Trio, I want a Trio and I want one now. Not one, not two, but three things in it; chocolatey biscuit and a toffee taste too."
Dutch comedian André van Duin released his version in 1972 called Het bananenlied: the banana song. This song asks repetitively why bananas are bent. It reaches the conclusion that if the bananas weren't bent they wouldn't fit into their peels.
German band Trio performed a parody where "Bommerlunder" (a German schnapps) substituted the words "daylight come" in the 1980s. In one rare occurrence, Trio and Harry Belafonte appeared in the same TV show, "Bio's Bahnhof", in 1982, with the latter watching Trio's act in disbelief.[9]
The Serbian comedy rock band The Kuguars, consisting of famous Serbian actors, covered the song in 1998, with lyrics in Serbian language dedicated to the, at the time, Yugoslav national soccer team player Dejan "Dejo" Savićević. The song became a nationwide hit, and a promotional video for the song had been recorded.
In their 1994 album, the comedy music group Grup Vitamin included a Turkish cover of the song parodying the macho culture in the country.
The Swedish humor show Rally, which aired between 1995 and 2002 in Sveriges Radio P3 made a version called "Hey Mr. Taliban", which speaks about Osama Bin Laden with the lyrics "Hey Mister Tallyman, tally me banana/Daylight come and me wan' go home" replaced by "Hey Mister Taliban, In Afghanistan/US Come and you wanna go home" or "Hey Mister Taliban! Turn over Bin Laden" and "Day-O! Daaaaay-O! Daylight come and me wan' go home" is replaced by "Day-O! Daaaay-O! Missile come and you wanna go home".
Since 1988 British radio DJ and presenter Simon Mayo has used several variations of the song as jingles. This originated during Mayo's time as presenter of the Radio 1 Breakfast Show where the jingle was sung by fellow presenter Steve Wright and has continued on many of his shows since, including (since 2010) Mayo's Drivetime show on BBC Radio 2.
In 1988-89, Belafonte's children, David and Gina, parodied the song in a commercial about the Oldsmobile Toronado Trofeo. (David was singing "Trofeo" in the same style as "Day-O" in the song.)
A parody of this song was use in a E-Trade Commercial that first Aried on Super Bowl LII
Samples and interpolations[edit]
Country music artist Neal McCoy references the song in his song "Hillbilly Rap" off his 1996 self-titled album.
Jamaican singer Frankie Paul used the song's chorus for a dancehall song.
Jason Derulo sampled the song in "Don't Wanna Go Home".
American rapper Lil Wayne samples the line "6 foot, 7 foot, 8 foot bunch" for the hook of the song "6 Foot 7 Foot", together with the line "Stack Banana" which is repeated throughout the song.
Chilean program 31 minutos used the song "Arwrarwrirwrarwro" make a Bombi version of "Day-O (The Banana Boat Song)".[10]
Australian singer Gotye used portions of the song in his song "Heart's A Mess" from his album "Like Drawing Blood".[11]
In film and television[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2017) (Learn how and when to remove this template message)
Belafonte sang the song on a 1979 episode of The Muppet Show, the first time he performed it on television since 1955.
Fleksnes Fataliteter The Norwegian comedy character Marve Fleksnes uses the phrase "Day-O" whenever he sees a situation which he can benefit from, or when agitated or insecure.
In the Bosom Buddies episode "Only The Lonely", Ruth invites Kip and Henry to her apartment for a get-together, but keeps the party going until all hours and won't let the pair leave. When she starts singing the Banana Boat Song, Kip and Henry only join in on the chorus: "We want to go home".
The original 1956 Belafonte recording was heard in the 1988 film Beetlejuice in a dinner scene in which the guests are supernaturally compelled to dance along to the song by the film's protagonists.
Belafonte's version was used in a 1990s ABC ident featuring the Bananas in Pyjamas.
On the NFL Primetime program, Chris Berman uses the phrase "Daylight come and you gotta Delhomme", as a nickname for former Carolina Panthers quarterback Jake Delhomme.
In Ava DuVernay's film Selma, Rev. Hosea Williams (played by Wendell Pierce) starts a chorus of the song at a meeting where it is announced that Harry Belafonte will join the final and successful third of the Selma to Montgomery marches. Belafonte appears among the marchers in newsreel footage shown during the end credits of the film.
In Thomas & Friends Sodor's Legend of the Lost Treasure, Skiff the Railboat (Jamie Campbell Bower) sings a part of the chorus after he sees the sun comes up, whilst calling Sailor John (John Hurt) out that it is time to go home.
In Dancing with the Stars (U.S. season 23), Terra Jole and Sasha Farber danced to this song in the special "Halloween Dance Night."
In the Legends of Tomorrow episode "Moonshot", Martin Stein (Victor Garber) and Mick Rory (Dominic Purcell) sing a duet version.[12]
In the TV series Family Ties episode "Invasion of the Psychologist Snatchers" Lauren (Courteney Cox) says she loves Alex (Michael J. Fox) because of the song.
In the TV series Bojack Horseman episode "It's You" a child Todd (Aaron Paul) smacks on his butt like bingo drums while singing a variation of the song.
The song was used in the 1989 unsold animated pilot Hound Town.
References[edit]
Jump up ^ "Edric Connor, Louise Bennett and Jamaican Folk Music". Mento Music. Retrieved 2016-08-22.
Jump up ^ The Louise Bennett version of Day O (The Banana Boat Song) is available and documented in both French and English on the Jamaica – Mento 1951–1958 album (2009)
Jump up ^ "Frémeaux & Associés éditeur, La Librairie Sonore". Fremeaux.com. 1932-06-19. Retrieved 2016-08-22.
Jump up ^ Garth L. Green, Philip W. Scher. Trinidad carnival: the cultural politics of a transnational festival.
Jump up ^ "ChartArchive - Shirley Bassey - The Banana Boat Song". Archive.is. Archived from the original on 2012-07-29. Retrieved 2016-08-22. CS1 maint: BOT: original-url status unknown (link)
Jump up ^ "Barry Frank recorded or participated in at least the following 54 song(s)". Bell Records. Retrieved 8 October 2012.
Jump up ^ "Jimmie Rodgers (2) - The Banana Boat Song (Vinyl)". Discogs.com. Retrieved 2016-08-22.
Jump up ^ "Show 18 - Blowin' in the Wind: Pop discovers folk music. [Part 1] : UNT Digital Library". Pop Chronicles. Digital.library.unt.edu. 1969-05-25. Retrieved 2010-09-24.
Jump up ^ "Trio bei Bio". YouTube. 2011-11-16. Retrieved 2016-08-22.
Jump up ^ [1]
Jump up ^ http://messandnoise.com/features/4425133
Jump up ^ "'Legends of Tomorrow' Recap: Defying Gravity, Legends-Style". Entertainment Weekly. 15 March 2017. Retrieved 17 March 2017.
External links[edit]
English version of the text can be found at the bottom of the page. These lyrics are different from Belafonte's original version
Who wrote the Banana Boat Song?, So Quoted blog, September 2005
"Banana Loader's Song, The Originals website
Mark Roth, "The Banana Boat Song: 'Daylight come and me wan' go home ...'", Pittsburgh Post-Gazette, 27 November 2005
[show]
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Beetlejuice
Films
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Beetlejuice (1990)
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[show]
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Harry Belafonte
Discography
Studio albums
Mark Twain and Other Folk Favorites (1954)
Belafonte (1956)
Calypso (1956)
An Evening with Belafonte (1957)
Belafonte Sings of the Caribbean (1957)
To Wish You a Merry Christmas (1958)
Belafonte Sings the Blues (1958)
Love Is a Gentle Thing (1959)
My Lord What a Mornin' (1959)
Swing Dat Hammer (1960)
Jump Up Calypso (1961)
Midnight Special (1962)
The Many Moods of Belafonte (1962)
Streets I Have Walked (1963)
Ballads, Blues and Boasters (1964)
In My Quiet Room (1966)
Calypso in Brass (1966)
Belafonte on Campus (1967)
Belafonte Sings of Love (1968)
Homeward Bound (1970)
Belafonte by Request (1970)
The Warm Touch (1971)
Calypso Carnival (1971)
Play Me (1973)
Turn the World Around (1977)
Loving You Is Where I Belong (1981)
Paradise in Gazankulu (1988)
Live albums
Belafonte at Carnegie Hall (1959)
Belafonte Returns to Carnegie Hall (1960)
Belafonte at The Greek Theatre (1964)
En Gränslös Kväll På Operan (1966)
Belafonte...Live! (1972)
Belafonte Concert in Japan (1974)
Belafonte '89 (1989)
An Evening with Harry Belafonte and Friends (1997)
Compilations
Very Best of Harry Belafonte (2001)
The Long Road to Freedom: An Anthology of Black Music (2001)
The Essential Harry Belafonte (2005)
Collaborations
Porgy and Bess (1959)
An Evening with Belafonte/Makeba (1965)
An Evening with Belafonte/Mouskouri (1966)
Harry & Lena: For the Love of Life (1970)
"We Are the World" (1985)
Related articles
Shari Belafonte (daughter)
March on Washington
Mississippi Freedom Summer
[show]
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Sarah Vaughan
Studio albums
Sarah Vaughan with Clifford Brown
In the Land of Hi-Fi
After Hours
Sassy
Swingin' Easy
Sarah Vaughan and Billy Eckstine Sing the Best of Irving Berlin
Sarah Vaughan Sings George Gershwin
Sarah Vaughan Sings Broadway: Great Songs from Hit Shows
No Count Sarah
Vaughan and Violins
Close to You
Dreamy
The Divine One
The Explosive Side of Sarah Vaughan
Count Basie/Sarah Vaughan
After Hours
You're Mine You
Sarah + 2
Sarah Sings Soulfully
Snowbound
Sweet 'n' Sassy
Star Eyes
Sarah Slightly Classical
Vaughan with Voices
Pop Artistry of Sarah Vaughan
The Lonely Hours
¡Viva! Vaughan
Sarah Vaughan Sings the Mancini Songbook
The New Scene
It's a Man's World
Sassy Swings Again
A Time in My Life
Sarah Vaughan with Michel Legrand
Feelin' Good
Send in the Clowns
I Love Brazil!
How Long Has This Been Going On?
The Duke Ellington Songbook, Vol. 1
The Duke Ellington Songbook, Vol. 2
Copacabana
Songs of the Beatles
Send in the Clowns
Crazy and Mixed Up
The Planet Is Alive...Let it Live!
Brazilian Romance
Live albums
At Mister Kelly's
After Hours at the London House
Sassy Swings the Tivoli
Live in Japan
Sarah Vaughan with the Jimmy Rowles Quintet
Ronnie Scott's Presents Sarah Vaughan Live
Gershwin Live!
One Night Stand – The Town Hall Concert 1947
In the City of Lights
Linger Awhile: Live at Newport and More
Divine Lady of Song
Compilation albums
Sarah Vaughan in Hi-Fi
Other album appearances
2:00 AM Paradise Cafe
Back on the Block
Extended plays
Hot Jazz
The Divine Sarah Sings
Charted singles
"Tenderly"
"Nature Boy"
"It's Magic"
"Black Coffee"
"That Lucky Old Sun (Just Rolls Around Heaven All Day)"
"Thinking of You"
"Vanity"
"How Important Can It Be?"
"Whatever Lola Wants"
"Mr. Wonderful"
"The Banana Boat Song"
"Passing Strangers"
"Broken Hearted Melody"
"Misty"
"Eternally"
"A Lover's Concerto"
Songs
"Autumn in New York"
"Body and Soul"
"Dancing in the Dark"
"Don't Blame Me"
"Everything I Have Is Yours"
"I've Got a Crush on You"
"If You Could See Me Now"
"Moonlight in Vermont"
"My Funny Valentine"
"Poor Butterfly"
"Send in the Clowns"
"Someone to Watch Over Me"
Related topics
Discography
The Calling: Celebrating Sarah Vaughan
Sarah: Dedicated to You
Unmarked Van: A Tribute to Sarah Vaughan
Book:Sarah Vaughan
[show]
v
t
e
Steve Lawrence
Singles
"Day-O (The Banana Boat Song)"
"Party Doll"
"Pretty Blue Eyes"
"Footsteps"
"Portrait Of My Love"
"Our Concerto"
"Go Away Little Girl"
"The End (At The End Of A Rainbow)"
Related
Discography
Steve and Eydie
Eydie Gormé
Retrieved from "https://en.wikipedia.org/w/index.php?title=Day-O_(The_Banana_Boat_Song)&oldid=836463727"
Categories:
Jamaican songs
Number-one singles in Germany
Harry Belafonte songs
1956 singles
1957 singles
Shirley Bassey songs
Calypso songs
Bananas in popular culture
Songs about plants
RCA Records singles
Year of song unknown
Songwriter unknown
Songs about labor
Songs about food
Hidden categories:
CS1 maint: BOT: original-url status unknown
Articles needing additional references from August 2016
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Articles with hAudio microformats
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Articles with unsourced statements from August 2016
Articles needing additional references from October 2017
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