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The Uses and Misuses of Popular Music Lyrics in Legal Writing, 64 Wash
Washington and Lee Law Review Volume 64 | Issue 2 Article 4 Spring 3-1-2007 [Insert Song Lyrics Here]: The sesU and Misuses of Popular Music Lyrics in Legal Writing Alex B. Long Follow this and additional works at: https://scholarlycommons.law.wlu.edu/wlulr Part of the Legal Writing and Research Commons Recommended Citation Alex B. Long, [Insert Song Lyrics Here]: The Uses and Misuses of Popular Music Lyrics in Legal Writing, 64 Wash. & Lee L. Rev. 531 (2007), https://scholarlycommons.law.wlu.edu/wlulr/vol64/iss2/4 This Article is brought to you for free and open access by the Washington and Lee Law Review at Washington & Lee University School of Law Scholarly Commons. It has been accepted for inclusion in Washington and Lee Law Review by an authorized editor of Washington & Lee University School of Law Scholarly Commons. For more information, please contact [email protected]. [Insert Song Lyrics Here]: The Uses and Misuses of Popular Music Lyrics in Legal Writing Alex B. Long* Table of Contents I. For Those About To Rock (I Salute You) .................................... 532 II. I'm Looking Through You ........................................................... 537 A. I Count the Songs That Make the Legal Profession Sing, I Count the Songs in Most Everything, I Count the Songs That Make the Young Lawyers Cry, I Count the Songs, I Count the Songs ................................................. 537 B . A dd It U p ............................................................................... 539 C. I'm Looking Through You .................................................... 541 1. It Takes a Profession of Thousands To Hold Us Back .... 541 2. Baby Boomers Selling You Rumors of Their History ..... 544 3. -
The New Pornographers
The New Pornographers For what purpose the popular song? Does the popular song have a purpose? Is it just a sequence of auditory gestures, desperate acts, adrift in the bigger broader silence of an unforgiving cultural landscape? In what follows, we will assume that the purpose of the popular song is to unite warring disputants and to repair the manifold puncture wounds of life, so that life is revealed, again, as less accursed than it appears. And let’s assume that we go on listening to the popular song, which in the vast majority of its iterations is a failure, because we are chronic in our need for this rehabilitation of our puncture-wounded selves. Take any fine example, take “All You Need Is Love,” by the Beatles, or “Walk Away, Renee,” by the Left Banke, or “Tears of a Clown,” by Smokey Robinson. Try listening to these songs. Almost immediately, your suppurations begin to clot. Into this tryingly difficult history of the popular song stride The New Pornographers, into a period in which it has to be acknowledged that the medium is mostly dead, is passed, is no longer a uniting force, but, more frequently, a medium of division, one entirely controlled by the Ownership Society and made profitable according to shareholders who don’t give a fuck if your puncture wounds are healed over as long as the product ships. The New Pornographers, stunningly, do not seem to understand that the popular song is dead, is passed, and The New Pornographers, despite their complete and nearly monastic understanding of the Secret Knowledge of the popular song, will themselves into being, characterized by a uniform devotion to the great history that precedes them by only a couple of decades, and their coming into being in a somewhat unlikely place, Vancouver, not previously noted for a unvarying profusion of rock genius, is particular not only for uniformity of purpose but because they manage, in this uniformity, to bring a considerable cast of local adepts all as one into the tent. -
2005 / 2006 Annual Report
RADIO STARMAKER FUND ANNUAL REPORT 2005#–2006 ANNUAL REPORT RADIO TABLE OF CONTENTS STARMAKER #FUND 02. Message from the Chair 03. Board of Directors and Staff | Mandate 04. Application Evaluation | Applications Submitted vs. Applications Approved 05. Tracking Success | Grant Allocation by Type of Record Label 06. Radio Starmaker Funded Artists 07. Sales Certifications 08. Grant Allocation by Province | Grant Allocation by Genre 09. Grant Allocation by Music Industry Association 10. Awards Won by Radio Starmaker Funded Artists 11. Allocation of Funding by Category 12. – 16. Condensed Financial Statements 17. Appendix: Criteria for Qualifying 25 Adelaide Street East, Suite 1300, Toronto, Ontario M5C 3A1 PHONE.416.597.6622 FAX.416.597.2760 TOLL FREE.1.888.256.2211 www.radiostarmakerfund.com RADIO STARMAKER FUND ANNUAL REPORT 2005-2006 .01 ANNUAL REPORT RADIO MESSAGE FROM THE CHAIR STARMAKER #FUND This year has been one of reflection for • 77% of the total funding requested was approved We continue to maintain the highest standards of the Radio Starmaker Fund. We had the accountability to our stakeholders and the industry at opportunity to review our history from • The “funding per record” breakdown (based on the top large. Our audit process once again shows complete the inception of the fund and present an 22 funded RSF artists) is approximately $2 per record. compliance with our funding rules and regulations and overview to the CRTC during its radio With average marketing costs per album hovering in we appreciate the efforts made by our applicants to review proceedings in May 2006. the range of $3 per record this means we are making maintain this track record. -
“Statesboro Blues”—Blind Willie Mctell (1928) Added to the National Registry: 2015 Essay by Brian Bader
“Statesboro Blues”—Blind Willie McTell (1928) Added to the National Registry: 2015 Essay by Brian Bader Blind Willie McTell Blind Willie McTell was born May 5, 1901 in Thomson, Georgia. Though there is some uncertainty about his birth year, his comparatively long life (he died on Aug. 19, 1959, in Milledgeville, Georgia), his prolific recording career, the memories of numerous acquaintances, and McTell’s own recorded reminiscences, allow for a full picture of his life. His skillful fingerpicking guitar style ranks high with the playing of other acoustic blues artists, both blind (Blind Boy Fuller, Blind Blake, Reverend Gary Davis) and sighted (Josh White, Brownie McGhee). Hard to categorize, McTell embodied Piedmont blues, as well as ragtime, and gospel/spiritual/religious music, and may best be described as a mid-twentieth century American songster. One of his tunes--“covered,” or more accurately freely adapted, in a powerful electric blues rendition by the Allman Brothers Band-- is his legacy. This number most familiar to modern blues and rock fans: “Statesboro Blues.” Recorded by McTell and self-accompanied on twelve- string guitar in 1928 for Victor records, it showcases his distinctive voice and his talented guitar playing. The Allman Brothers later credited their cover of the song to “Will McTell” on their live two-record album “At Filmore East” released in 1971 on Capricorn Records. Guitarists Duane Allman (using a slide) and Dickey Betts cut loose with their trademark twin lead guitar line up in a memorable reading as a jumping blues shuffle. In an analysis of the history of “Statesboro Blues,” however, it is important to note that between the McTell recording and the Allman Brothers, there is a version from 1968 by Taj Mahal on his debut album. -
Artist Song Weird Al Yankovic My Own Eyes .38 Special Caught up in You .38 Special Hold on Loosely 3 Doors Down Here Without
Artist Song Weird Al Yankovic My Own Eyes .38 Special Caught Up in You .38 Special Hold On Loosely 3 Doors Down Here Without You 3 Doors Down It's Not My Time 3 Doors Down Kryptonite 3 Doors Down When I'm Gone 3 Doors Down When You're Young 30 Seconds to Mars Attack 30 Seconds to Mars Closer to the Edge 30 Seconds to Mars The Kill 30 Seconds to Mars Kings and Queens 30 Seconds to Mars This is War 311 Amber 311 Beautiful Disaster 311 Down 4 Non Blondes What's Up? 5 Seconds of Summer She Looks So Perfect The 88 Sons and Daughters a-ha Take on Me Abnormality Visions AC/DC Back in Black (Live) AC/DC Dirty Deeds Done Dirt Cheap (Live) AC/DC Fire Your Guns (Live) AC/DC For Those About to Rock (We Salute You) (Live) AC/DC Heatseeker (Live) AC/DC Hell Ain't a Bad Place to Be (Live) AC/DC Hells Bells (Live) AC/DC Highway to Hell (Live) AC/DC The Jack (Live) AC/DC Moneytalks (Live) AC/DC Shoot to Thrill (Live) AC/DC T.N.T. (Live) AC/DC Thunderstruck (Live) AC/DC Whole Lotta Rosie (Live) AC/DC You Shook Me All Night Long (Live) Ace Frehley Outer Space Ace of Base The Sign The Acro-Brats Day Late, Dollar Short The Acro-Brats Hair Trigger Aerosmith Angel Aerosmith Back in the Saddle Aerosmith Crazy Aerosmith Cryin' Aerosmith Dream On (Live) Aerosmith Dude (Looks Like a Lady) Aerosmith Eat the Rich Aerosmith I Don't Want to Miss a Thing Aerosmith Janie's Got a Gun Aerosmith Legendary Child Aerosmith Livin' On the Edge Aerosmith Love in an Elevator Aerosmith Lover Alot Aerosmith Rag Doll Aerosmith Rats in the Cellar Aerosmith Seasons of Wither Aerosmith Sweet Emotion Aerosmith Toys in the Attic Aerosmith Train Kept A Rollin' Aerosmith Walk This Way AFI Beautiful Thieves AFI End Transmission AFI Girl's Not Grey AFI The Leaving Song, Pt. -
SAC Fall 2007
Executive Director’s Message EDITOR Beverly Hardy Busy, Busy, Busy! MANAGING EDITOR Don Quarles LAYOUT Lori Veljkovic ow – where did the summer go? If you bump into COPY EDITOR Leah Erbe The S.A.C. has been actively them, thank them CONTRIBUTORS Don Quarles, promoting the Association at again! Nick Krewen, Kerry Doole, Leah Erbe, W Dale Leung, Pierre Millette, several events over the last few months as well We are excited as preparing for the upcoming season: We about a new show- Canadian Publications Mail Agreement were at the SCMAs (Saskatchewan Country case opportunity No. 40014605 Music Awards) in Saskatoon, where Lennie involving a part- Canada Post Account No. 02600951 Gallant participated in several songwriting nership with the ISSN 1481-3661 ©2002 panels and showcases; S.A.C. Board folks at Second Songwriters Association of Canada President Haydain Neale made his way up to Cup Canada. DON QUARLES Subscriptions: Canada $16/year plus Sault Ste Marie to lead a songwriting Thanks to Laura GST; USA/Foreign $22 workshop co-sponsored by Music and Film in Mingail and Karen Gold (both from Second Songwriters Magazine is a publication of the Motion (MFM); Pat Pattison wowed another Cup Marketing), an initiative is in full swing Songwriters Association of Canada (S.A.C.) group of songwriters at a weekend workshop to help promote Canadian songwriters in and is published four times a year. Members at Metalworks Institute; and in June we had a their coffee houses across the country. With of S.A.C. receive Songwriters Magazine as great bluebird North showcase in an initial launch in September and October part of their membership. -
AT AUCTION FEBRUARY 27 Dear Guitar Collector
GUITARS AT AUCTION FEBRUARY 27 Dear Guitar Collector: On this disc are images of the 284 guitars currently in this Auction plus an GUITARS additional 82 lots of collectible amps, music awards and other related items all being sold on Saturday, February 27. The Auction is being divided into two sessions AT AUCTION FEBRUARY 27 starting at 2pm and 7pm (all East Coast time.) Session I, contains an extraordinary array of fine and exciting instruments starting with Lot 200 on this disc. The majority of lots in this Auction are being sold without minimum reserve. AUCTION Saturday, February 27 The event is being held “live” at New York City’s Bohemian National Hall, a great Session I – 2pm: Commencing with Lot #200 setting at 321 East 73rd Street in Manhattan. For those unable to attend in person, Session II – 7pm: Commencing with Lot #400 the event is being conducted on two “bidding platforms”… liveauctioneers. com and invaluable.com. For those who so wish, telephone bidding can easily PUBLIC PREVIEW February 25 & 26 be arranged by contacting us. All the auction items will be on preview display Noon to 8pm (each day) Thursday and Friday, February 25 and 26, from 12 noon to 8 pm each day. LOCATION Bohemian National Hall 321 East 73rd Street Please note that this disc only contains photographic images of the items along New York, NY with their lot headings. For example, the heading for Lot 422 is 1936 D’Angelico ONLINE BIDDING Liveauctioneers.com Style A. Descriptions, condition reports and estimates do not appear on this disc. -
The Backstreets Liner Notes
the backstreets liner notes BY ERIK FLANNIGAN AND CHRISTOPHER PHILLIPS eyond his insightful introductory note, Bruce Springsteen elected not to annotate the 66 songs 5. Bishop Danced RECORDING LOCATION: Max’s Kansas City, New included on Tracks. However, with the release York, NY of the box set, he did give an unprecedented RECORDING DATE: Listed as February 19, 1973, but Bnumber of interviews to publications like Billboard and MOJO there is some confusion about this date. Most assign the which revealed fascinating background details about these performance to August 30, 1972, the date given by the King songs, how he chose them, and why they were left off of Biscuit Flower Hour broadcast (see below), while a bootleg the albums in the first place. Over the last 19 years that this release of the complete Max’s set, including “Bishop Danced,” magazine has been published, the editors of Backstreets dated the show as March 7, 1973. Based on the known tour have attempted to catalog Springsteen’s recording and per- chronology and on comments Bruce made during the show, formance history from a fan’s perspective, albeit at times an the date of this performance is most likely January 31, 1973. obsessive one. This booklet takes a comprehensive look at HISTORY: One of two live cuts on Tracks, “Bishop Danced” all 66 songs on Tracks by presenting some of Springsteen’s was also aired on the inaugural King Biscuit Flower Hour and own comments about the material in context with each track’s reprised in the pre-show special to the 1988 Tunnel of Love researched history (correcting a few Tracks typos along the radio broadcast from Stockholm. -
GUITARS at AUCTION FEBRUARY 27 Dear Guitar Collector
GUITARS AT AUCTION FEBRUARY 27 Dear Guitar Collector: On this disc are images of the 284 guitars currently in this Auction plus an GUITARS additional 82 lots of collectible amps, music awards and other related items all being sold on Saturday, February 27. The Auction is being divided into two sessions AT AUCTION FEBRUARY 27 starting at 2pm and 6pm (all East Coast time.) Session I, contains an extraordinary array of fine and exciting instruments starting with Lot 200 on this disc. The majority of lots in this Auction are being sold without minimum reserve. AUCTION Saturday, February 27 The event is being held “live” at New York City’s Bohemian National Hall, a great Session I – 2pm: Commencing with Lot #200 setting at 321 East 73rd Street in Manhattan. For those unable to attend in person, Session II – 6pm: Commencing with Lot #400 the event is being conducted on two “bidding platforms”… liveauctioneers. com and invaluable.com. For those who so wish, telephone bidding can easily PUBLIC PREVIEW February 25 & 26 be arranged by contacting us. All the auction items will be on preview display Noon to 8pm (each day) Thursday and Friday, February 25 and 26, from 12 noon to 8 pm each day. LOCATION Bohemian National Hall 321 East 73rd Street Please note that this disc only contains photographic images of the items along New York, NY with their lot headings. For example, the heading for Lot 422 is 1936 D’Angelico ONLINE BIDDING Liveauctioneers.com Style A. Descriptions, condition reports and estimates do not appear on this disc. -
The Grizzly, February 2, 2006
Ursinus College Digital Commons @ Ursinus College Ursinus College Grizzly Newspaper Newspapers 2-2-2006 The Grizzly, February 2, 2006 Ali Wagner Ursinus College Bart Brooks Ursinus College Allison Emery Ursinus College Dan Lamson Ursinus College Sarah Keck Ursinus College See next page for additional authors Follow this and additional works at: https://digitalcommons.ursinus.edu/grizzlynews Part of the Cultural History Commons, Higher Education Commons, Liberal Studies Commons, Social History Commons, and the United States History Commons Click here to let us know how access to this document benefits ou.y Recommended Citation Wagner, Ali; Brooks, Bart; Emery, Allison; Lamson, Dan; Keck, Sarah; Brown, Sharlene; Taylor, Lane; Perkins, Katie; Macconchie, Cecily; Diana, Katy; Harley, Darron; Brown, Brandon; Ernst, Alex; Marcheskie, Dave; and Pastor, Matthew, "The Grizzly, February 2, 2006" (2006). Ursinus College Grizzly Newspaper. 709. https://digitalcommons.ursinus.edu/grizzlynews/709 This Book is brought to you for free and open access by the Newspapers at Digital Commons @ Ursinus College. It has been accepted for inclusion in Ursinus College Grizzly Newspaper by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Authors Ali Wagner, Bart Brooks, Allison Emery, Dan Lamson, Sarah Keck, Sharlene Brown, Lane Taylor, Katie Perkins, Cecily Macconchie, Katy Diana, Darron Harley, Brandon Brown, Alex Ernst, Dave Marcheskie, and Matthew Pastor This book is available at Digital Commons @ Ursinus College: https://digitalcommons.ursinus.edu/grizzlynews/709 the • . thursday, february 2, 2006 r ~en~spaper of ursinus college inside The sun is up, the sky is blue It's beautiful and so are you Lady Bears beat F &M . -
A Social History of the Electric Guitar
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-2-2019 Why Does It Have To Be So Loud? A Social History Of The Electric Guitar Thomas Dunne CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/429 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Why Does It Have To Be So Loud? A Social History Of The Electric Guitar by Thomas Dunne Submitted in partial fulfillment of the requirements for the degree of Master of Arts History, Hunter College The City University of New York 2019 Thesis Sponsor: May 2, 2019 Jonathan Rosenberg Date Signature May 2, 2019 Kevin Sachs Date Signature of Second Reader 2 TABLE OF CONTENTS 1. Introduction 3 2. Chapter 1 The Instrument 8 3. Chapter 2 Social Impact 34 4. Chapter 3 Guitar Gods 65 5. Conclusion 98 3 In the summer of 2017, I taught a Project-Based Learning course on the blues and the electric guitar at the Harlem Children’s Zone in New York City. The course curriculum included learning about the electric guitar, the blues, and rock ‘n’ roll. I had the kids write blues songs, and showed them my Gibson Les Paul electric guitar and let them play it. We also learned about some of the most celebrated guitarists who played this type of music, of which the children had little to no knowledge. -
Great Albums
Last Update: 14/4/13 – Changes & additions since the December 2010 version highlighted thusly 1936 Robert Johnson The Complete Recordings 1937 By universal acknowledgment, the greatest of the Old Masters of acoustic blues. It’s said that Eric Clapton wouldn’t even talk to you in the 1960s if you were not au fait with Robert Johnson. This is one of the exceptions in which I’ve allowed a “best of” compilation. I just had to in this case. There weren’t any albums in the 30s. 1959 Miles Davis Kind Of Blue He could play the trumpet a bit. This is arguably the best known full-on jazz album of all time. It had just enjoyed its 40 th anniversary on first compilation of this list. I’m not qualified to write about Miles Davis, but this I know. Despite his tetchy character, especially in defence of blacks against the white establishment (understandably), he did not come from a typical poor black background. His family were quite affluent and middle class, in as far as it was possible for blacks to be middle class in the US at that time. 1964 John Coltrane A Love Supreme He could play the sax a bit. The album was the result of Coltrane’s sudden religious awakening in 1957. Brilliant – apart from the embarrassing vocals. You're getting jazz and old-time blues up to '64 because The Great Musical Reinvention had not yet happened - but it was just around the corner... 1965 Jackson C Frank Jackson C Frank Aficionados know that this is the best folk album of all time.