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Aretha Franklin's Gendered Re-Authoring of Otis Redding's
Popular Music (2014) Volume 33/2. © Cambridge University Press 2014, pp. 185–207 doi:10.1017/S0261143014000270 ‘Find out what it means to me’: Aretha Franklin’s gendered re-authoring of Otis Redding’s ‘Respect’ VICTORIA MALAWEY Music Department, Macalester College, 1600 Grand Avenue, Saint Paul, MN 55105, USA E-mail: [email protected] Abstract In her re-authoring of Otis Redding’s ‘Respect’, Aretha Franklin’s seminal 1967 recording features striking changes to melodic content, vocal delivery, lyrics and form. Musical analysis and transcription reveal Franklin’s re-authoring techniques, which relate to rhetorical strategies of motivated rewriting, talking texts and call-and-response introduced by Henry Louis Gates, Jr. The extent of her re-authoring grants her status as owner of the song and results in a new sonic experience that can be clearly related to the cultural work the song has performed over the past 45 years. Multiple social movements claimed Franklin’s ‘Respect’ as their anthem, and her version more generally functioned as a song of empower- ment for those who have been marginalised, resulting in the song’s complex relationship with feminism. Franklin’s ‘Respect’ speaks dialogically with Redding’s version as an answer song that gives agency to a female perspective speaking within the language of soul music, which appealed to many audiences. Introduction Although Otis Redding wrote and recorded ‘Respect’ in 1965, Aretha Franklin stakes a claim of ownership by re-authoring the song in her famous 1967 recording. Her version features striking changes to the melodic content, vocal delivery, lyrics and form. -
Quid Est 'Bioethics'?
What Is “Bioethics”? (Quid est ‘Bioethics’?) Dianne N. Irving “A small error in the beginning leads to a multitude of errors in the end.” Thomas Aquinas, De Ente Et Essentia Aristotle, De Coelo I. INTRODUCTION There is a strange phenomenon I have encountered over the last several years which I hope at least to identify with this essay. It is the apparent belief that bioethics is somehow the same as, or to be equated with, ethics per se, or at least with medical ethics per se. I have even heard it referred to as Roman Catholic medical ethics per se. Repeatedly, when I ask a group to define “bioethics,” I usually get the same sort of response. I hope with this essay to disenfranchise people of this belief. Contrary to “popular opinion,” bioethics, as predominantly practiced today–especially as embedded in formal governmental regulations, state laws and a myriad of other documents, committees, guidelines, guidebooks, etc., around the worldi–is not the same thing as “ethics per se.” Academically it is actually a sub-field of ethics and stands alongside many other theories of ethics, e.g., Kantian deontology, Millsean utilitarianism, casuistry, natural law, egoism, situation ethics, relativism, and various forms of theological ethics, etc. And like all ethical theories, bioethics is by no means “neutral”–there is no such thing as a “neutral ethics.”ii In fact, bioethics defines itself as a normative ethical theory–that is, it takes a stand on what is right or wrong.iii Nor is bioethics to be equated with “medical ethics,” as that term is still generally understood.iv Nor is it the same as Roman Catholic medical ethics or any other such subsystem of ethics that could be used to determine the rightness and wrongness of human actions within the 1 medical context. -
Rochester Blue Book 1928
Central Library of Rochester and Monroe County · Miscellaneous Directories V,ZP7. ROCHESTER V^SZ 30GIC Central Library of Rochester and Monroe County · Miscellaneous Directories NASH-GATES CO. NASH DISTRIBUTORS TWO RETAIL STORES 336 EAST AVENUE 775( CULVER ROAD Phones: Stone 804-805 Phones: Culver 2600-2601 32 (Thestnut Street-' M.D.JEFFREYS -^VOCuC^tCt*;TX.TJ. L. M. WEINER THE SPIRIT OF GOOD SERVICE AND UNEQUALED FACILITIES FOR ITS ACCOMPLISHMENT 2 Central Library of Rochester and Monroe County · Miscellaneous Directories 0 UNION ROCHESTER'S best families for over a quarter of a TRUST century have profitably em ployed tlie service of this COMPANY fifty-million dollar, five-branch, financial institution. Attractive separate depart ments for women. OFFICES Union Trust Building Main St eet at South Avenue Main Street at East Avenue OF Clifford and Joseph Avenues ROCHESTER 4424 Lake Avenue j^+*4^********4-+***+****+*4-+++++*++44'*+****++**-fc*4.*^ (dlfntrp 3Unuimf, 1 ROCHESTER, N,Y Bworattottfl. ijpahttB, Jforttn ani Jfflmuering flanta «S*THpTT,T*,f"f"Wwww**^************^*********^****** * 3 Central Library of Rochester and Monroe County · Miscellaneous Directories |imaiiyMMMMMiu«MM^ Phones: Main 1737-1738 Joseph A. Schantz Co. Furniture, Fire-Proof Storage and Packing of Household Goods AUTO VANS FOR OUT OF TOWN MOVING Office and Salesroom 253 St. Paul, cor. Central Avenue Central Crust Company ROCHESTER, N. Y. The "Friendly" Bank Capital, Surplus and Undivided Profits $1,500,000 Interest Paid on Special Deposits Safe Deposit Boxes for Rent Main Office Brighton Branch 25 MAIN STREET, EAST 1806 EAST AVENUE 4 Central Library of Rochester and Monroe County · Miscellaneous Directories B.FORMAN CD WOMEN'S, GIRLS' and INFANTS' APPAREL AND ALL ACCESSORIES Clinton Avenue South Rochester, N. -
Econ 771.001
ECON 771: Political Economy of Race and Gender Spring 2018 Dr. Elissa Braunstein Department of Economics, Colorado State University [email protected] Office: C327 Clark Office hours: T 1:00 – 2:00 (or by appointment) Overview I define political economy as “the study of the impact of group identity and collective conflict on the organization of economic activity and its consequences.” Political economy traditions tend to focus on class as a source of identity and group conflict. In this course, we will expand that focus to incorporate other sources of group membership, giving you a broad background in economic approaches to inequality and identity based on race/ethnicity and gender. We will focus primarily on the neoclassical, Marxian political economy and feminist literatures. In addition to learning more about the relationship between group membership and economic structures, we will use the prisms of race and gender to better understand and critique various approaches to economic analysis. And while much of the literature focuses on the U.S. context, I will try to broaden the discussion as often as possible, and encourage students to do the same. I welcome students from other social science disciplines. Although we will cover some advanced material that may be difficult for those who have not completed graduate economics courses, the emphasis will be on the main points, rather than the technical detail. The syllabus includes both required readings (*starred) and supplemental readings/sections as I wanted to give you a more complete sense of the literature if you are interested in looking further into a particular topic. -
Medicine After the Holocaust
Medicine after the Holocaust Previously published by Sheldon Rubenfeld: Could It Be My Thyroid? Medicine after the Holocaust From the Master Race to the Human Genome and Beyond Edited by Sheldon Rubenfeld In Conjunction with the Holocaust Museum Houston medicine after the holocaust Copyright © Sheldon Rubenfeld, 2010 Softcover reprint of the hardcover 1st edition 2010 978-0-230-61894-7 All rights reserved. First published in 2010 by PALGRAVE MACMILLAN® in the United States - a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the World, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978–0–230–62192–3 (paperback) ISBN 978-0-230-62192-3 ISBN 978-0-230-10229-3 (eBook) DOI 10.1057/9780230102293 Library of Congress Cataloging-in-Publication Data is available from the Library of Congress. Design by Integra Software Services First edition: January 2010 10987654321 Permissions Portions of Chapter 7, “Genetic and Eugenics,” are from A Passion for DNA: Genes, Genomes and Society, pp. 3–5, 179–208, 209–222, by James D. Watson, Cold Spring Harbor Laboratory Press 2000. c James. D. Watson. Reprinted with permission of James D. Watson. Chapter 5, “Mad, Bad, or Evil: How Physicians Healers Turn to Torture and Murder” was discussed and published in “Physicians and Torture: Lessons from the Nazi Doc- tors,” by Michael A. -
Bill Drafting Template
1 State of Arkansas 2 91st General Assembly 3 Regular Session, 2017 SR 13 4 5 By: Senator Irvin 6 7 SENATE RESOLUTION 8 HONORING JIMMY DRIFTWOOD FOR HIS CONTRIBUTIONS TO 9 FOLK MUSIC AND TO THE STATE OF ARKANSAS. 10 11 12 Subtitle 13 HONORING JIMMY DRIFTWOOD FOR HIS 14 CONTRIBUTIONS TO FOLK MUSIC AND TO THE 15 STATE OF ARKANSAS. 16 17 WHEREAS, Mr. Jimmy Driftwood was born James Corbitt Morris in Timbo, 18 Arkansas, on June 20, 1907, and died on July 12, 1998, in Fayetteville, 19 Arkansas; and was a prolific folk singer and songwriter, along with his 20 father, Neil Morris; and 21 22 WHEREAS, Jimmy Driftwood wrote over 6,000 folk songs, and is most 23 famous for “The Battle of New Orleans” and “Tennessee Stud“; and learned to 24 play guitar on his grandfather’s homemade instrument, which he used 25 throughout his career, noting that the neck was made from fence rail, the 26 sides from an old ox yoke, and the head and bottom from the headboard of his 27 grandmother’s bed; and 28 29 WHEREAS, Jimmy Driftwood received a degree in education from Arkansas 30 State Teacher’s College, now the University of Central Arkansas, married 31 Cleda Johnson in 1936, and began writing poetry and music; enjoyed his 32 teaching career in Arkansas and began a family; wrote songs during his 33 teaching career to help teach his students history in an entertaining manner; 34 and wrote his famous “The Battle of New Orleans” in 1936 to help his class 35 become interested in the event; and 36 *KLC253* 03-06-2017 14:08:28 KLC253 SR13 1 WHEREAS, it was not until the -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters
04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 1 The John F. Kennedy Center for the Performing Arts DAVID M. RUBENSTEIN , Chairman DEBORAH F. RUTTER , President CONCERT HALL Monday Evening, April 4, 2016, at 8:00 The Kennedy Center and the National Endowment for the Arts present The 2016 NEA Jazz Masters Tribute Concert Honoring the 2016 National Endowment for the Arts Jazz Masters GARY BURTON WENDY OXENHORN PHAROAH SANDERS ARCHIE SHEPP Jason Moran is the Kennedy Center’s Artistic Director for Jazz. WPFW 89.3 FM is a media partner of Kennedy Center Jazz. Patrons are requested to turn off cell phones and other electronic devices during performances. The taking of photographs and the use of recording equipment are not allowed in this auditorium. 04-04 NEA Jazz Master Tribute_WPAS 3/25/16 11:58 AM Page 2 2016 NEA JAZZ MASTERS TRIBUTE CONCERT Hosted by JASON MORAN, pianist and Kennedy Center artistic director for jazz With remarks from JANE CHU, chairman of the NEA DEBORAH F. RUTTER, president of the Kennedy Center THE 2016 NEA JAZZ MASTERS Performances by NEA JAZZ MASTERS: CHICK COREA, piano JIMMY HEATH, saxophone RANDY WESTON, piano SPECIAL GUESTS AMBROSE AKINMUSIRE, trumpeter LAKECIA BENJAMIN, saxophonist BILLY HARPER, saxophonist STEFON HARRIS, vibraphonist JUSTIN KAUFLIN, pianist RUDRESH MAHANTHAPPA, saxophonist PEDRITO MARTINEZ, percussionist JASON MORAN, pianist DAVID MURRAY, saxophonist LINDA OH, bassist KARRIEM RIGGINS, drummer and DJ ROSWELL RUDD, trombonist CATHERINE RUSSELL, vocalist 04-04 NEA Jazz Master Tribute_WPAS -
JUKEBOX JAZZ by Ian Muldoon* ______
JUKEBOX JAZZ by Ian Muldoon* ____________________________________________________ n 1955 Bill Haley’s Rock Around the Clock was the first rock and roll record to become number one on the hit parade. It had made a stunning introduction in I the opening moments to a film called Blackboard Jungle. But at that time my favourite record was one by Lionel Hampton. I was not alone. Me and my three jazz loving friends couldn’t be bothered spending hard-earned cash on rock and roll records. Our quartet consisted of clarinet, drums, bass and vocal. Robert (nickname Orgy) was learning clarinet; Malcolm (Slim) was going to learn drums (which in due course he did under the guidance of Gordon LeCornu, a percussionist and drummer in the days when Sydney still had a thriving show scene); Dave (Bebop) loved the bass; and I was the vocalist a la Joe (Bebop) Lane. We were four of 120 RAAF apprentices undergoing three years boarding school training at Wagga Wagga RAAF Base from 1955-1957. Of course, we never performed together but we dreamt of doing so and luckily, dreaming was not contrary to RAAF regulations. Wearing an official RAAF beret in the style of Thelonious Monk or Dizzy Gillespie, however, was. Thelonious Monk wearing his beret the way Dave (Bebop) wore his… PHOTO CREDIT WILLIAM P GOTTLIEB _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller. -
THE CLEVELAN ORCHESTRA California Masterwor S
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News Release Michigan State University Commencement
NEWS RELEASE MEDIA CONTACT: Kristen Parker, University Relations, (517) 353-8942, [email protected] MICHIGAN STATE UNIVERSITY COMMENCEMENT/CONVOCATION SPEAKERS 1907 Theodore Roosevelt, U.S. president 1914 Thomas Mott Osborn 1915 David Starr Jordan, Chancellor, Leland Stanford Junior University 1916 William Oxley Thompson, president, Ohio State University 1917 Samuel M. Crothers 1918 Liberty H. Bailey 1919 Robert M. Wenley, University of Michigan 1920 Harry Luman Russell, dean, University of Wisconsin 1921 Woodridge N. Ferris 1922 David Friday, MSU president 1923 John W. Laird 1924 Dexter Simpson Kimball, dean, Cornell University 1925 Frank O. Lowden 1926 Francis J. McConnell 1931 Charles R. McKenny, president, Michigan State Normal College 1933 W.D. Henderson, director of university extension, University of Michigan 1934 Ernest O. Melby, professor of education, Northwestern University 1935 Edwin Mims, professor of English, Vanderbilt University 1936 Gordon Laing, professor, University of Chicago 1937 William G. Cameron, Ford Motor Co. 1938 Frank Murphy, governor of Michigan 1939 Howard C. Elliott, president, Purdue University 1940 Allen A. Stockdale, Speakers’ Bureau, National Assoc. of Manufacturers 1941 Raymond A. Kent, president, University of Louisville 1942 John J. Tiver, president, University of Florida 1943 C.A. Dykstra, president, University of Wisconsin 1944 Howard L. Bevis, president, Ohio State University 1945 Franklin B. Snyder, president, Northwestern University 1946 Edmund E. Day, president, Cornell University 1947 James L. Morrill, president, University of Minnesota 1948 Charles F. Kettering 1949 David Lilienthal, chairperson, U.S. Atomic Commission 1950 Alben W. Barkley, U.S. vice president (For subsequent years: S-spring; F-fall; W-winter) 1951-S Nelson A. -
To See Anew: Experiencing American Art in the 21St Century
Initiatives in Art and Culture To See Anew: Experiencing American Art in the 21st Century 21ST ANNUAL AMERICAN ART CONFERENCE FRIDAY – SATURDAY, MAY 20 – 21, 2016 1851, after an original of 1851, The Greek Slave, The Greek Stuart Davis, Swing Landscape, 1938, oil on canvas, 86¾ x 172⅞ in. Indiana University Art Museum, Bloomington, Indiana. © Estate of Stuart Davis/Licensed Hiram Powers, Powers, Hiram Art University x 18¼ in. Yale 1844, marble, 65¼ x 21 Dann Fund. 1962.43, Olive Louise Gallery, by VAGA, New York, NY. Jonathan Boos. Jonathan Boos. 36 x 29 in. Private collection; photo: courtesy, canvas, Guy Pène du Bois, Country Wedding, Henry Peters Gray, The Wages of War, 1848, oil on 1929, oil on canvas, 48¼ x 76¼ in. The Metropolitan Museum of Art, gift of Several Ladies and Gentlemen, 1873. 73.5. THE GRADUATE CENTER, THE CITY UNIVERSITY OF NEW YORK To See Anew: Experiencing American Art in the 21st Century 21ST ANNUAL AMERICAN ART CONFERENCE Heilbrun, 1922). Chanler. Robert Winthrop Ivan Narodny, (from: 1921 Chanler, Robert Winthrop New York: William New York: Avian Arabesque, Avian Arabesque, The Art of In this conference, Initiatives in Art and Culture considers iconic works by recognized masters, seeking to understand both why they were celebrated in their own time and why they retain their power today. At the same time, we explore the works of artists who did not retain the renown they enjoyed during their lifetimes and who fell into obscurity. But obscurity is not necessarily forever, and as cycles of taste have changed, these once-forgotten artists and their largely unknown works have re-surfaced to startle us today.