Crenshaw by Katherine Applegate

Total Page:16

File Type:pdf, Size:1020Kb

Crenshaw by Katherine Applegate Crenshaw By Katherine Applegate Book Discussion and Activities Discussion Questions: 1. Jackson says, “Stories are lies, when you get right down to it. And I don’t like being lied to.” Why doesn't Jackson like made-up stories? Why is it important for him to have a logical explanation for everything that happens? 2. When does Crenshaw appear in Jackson’s life? Which events are tied to Crenshaw appearing? 3. Why does Jackson feel different from the other members of his family? Describe scenes in the story where Jackson feels separate from them. Name times in the story when Jackson realizes how important his family is to him. 4. Compare Crenshaw and Aretha in the way they behave. Can Aretha see Crenshaw the way Jackson can? 5. Discuss the theme of friendship in this book. How did Jackson and Marisol become friends? What are their similarities and differences? How does their friendship help each of them? 6. Why does Jackson steal the dog cookie? How does he feel about the times he has stolen from a store? Why does he feel worse about lying than stealing? What makes him ask Crenshaw, “Are you my conscience?” 7. Discuss the theme of magic in this story. What is the meaning of “magic” in the context of Jackson’s life? Why did he want to reveal how the magician's tricks worked? Discuss Marisol’s comment, “Just enjoy the magic while you can, okay?” Extension Activities: 1. Keepsakes - Jackson and Robin choose special possessions to put in their “keepsake bags.” List things that are important to you and explain why these items are meaningful to you. 2. Jackson and Robin choose the books, A Hole is to Dig by Ruth Drauss ​ ​ and The House on East 88th Street by Bernard Waber. Read these titles ​ ​ and discuss why these books are important to Jackson and Robin. 3. Write a paragraph about your favorite book and why the story is important to you. 4. Jackson and Robin’s parents are musicians, and music is very important to them. They named their children after the companies that made their guitars. They especially like the music of guitarist B. B. King and singer Aretha Franklin. Listen to recordings by both of these performers, and discuss how the music makes them feel. Why are these performers so important to Jackson’s parents? B.B.KING-https://www.youtube.com/watch?v=DYB5vLzEHvI ​ ARETHA - https://www.youtube.com/watch?v=6FOUqQt3Kg0 ​ 5. When you have “the Blues”, what songs do you listen to that lift your spirits? Resources: https://www.thebooksomm.com/home/crenshaw ​ https://images.macmillan.com/folio-assets/teachers-guides/9781250043238TG.pdf .
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Download Song List As
    Top40/Current Bruno Mars 24K Magic Stronger (What Doesn't Kill Kelly Clarkson Treasure Bruno Mars You) Uptown Funk Bruno Mars Firework Katy Perry Can't Stop The Feeling Justin Timberlake Hot N Cold Katy Perry Good as Hell Lizzo I Choose You Sara Bareilles Cake By The Ocean DNCE Till The World Ends Britney Spears Shut Up And Dance Walk The Moon Life is Better with You Michael Franti & Spearhead Don’t stop the music Rihanna Say Hey (I Love You) Michael Franti & Spearhead We Found Love Rihanna / Calvin Harris You Are The Best Thing Ray LaMontagne One Dance Drake Lovesong Adele Don't Start Now Dua Lipa Make you feel my love Adele Ride wit Me Nelly One and Only Adele Timber Pitbull/Ke$ha Crazy in Love Beyonce Perfect Ed Sheeran I Gotta Feeling Black Eyed Peas Thinking Out Loud Ed Sheeran Let’s Get It Started Black Eyed Peas Cheap Thrills Sia Everything Michael Buble I Love It Icona Pop Dynomite Taio Cruz Die Young Kesha Crush Dave Matthews Band All of Me John Legend Where You Are Gavin DeGraw Blurred Lines Robin Thicke Forget You Cee Lo Green Party in the U.S.A. Miley Cyrus Feel So Close Calvin Harris Talk Dirty Jason Derulo Song for You Donny Hathaway Call Me Maybe Carly Rae Jepsen This Is How We Do It Montell Jordan Brokenhearted Karmin No One Alicia Keys Party Rock Anthem LMFAO Waiting For Tonight Jennifer Lopez Starships Nicki Minaj Moves Like Jagger Maroon 5 Don't Stop The Party Pitbull This Love Maroon 5 Happy Pharrell Williams I'm Yours Jason Mraz Domino Jessie J Lucky Jason Mraz Club Can’t Handle Me Flo Rida Hey Ya! OutKast Good Feeling
    [Show full text]
  • Big Band Sundays at Vina Robles
    For Immediate Release Contact: Marc Laderriere February 9, 2010 (805) 227-4812 [email protected] Swing & Dance into Spring with Vina Robles Winery Monthly “BIG BAND Sundays” Concert Series Begins on March 7—Red Holloway to Perform with the Cal Poly Jazz, Blues and Boogie Big Band under the direction of Paul Rinzler Paso Robles, CA—Springtime is swing time as Vina Robles Winery launches its new “Big Band Sundays” concert series on March 7 from 3:00 p.m. to 5:30 p.m. at the winery’s hospitality center in Paso Robles. The cost is $20 per person. The inaugural concert will feature legendary saxophonist Red Holloway performing big band classics with the Cal Poly Jazz, Blues and Boogie Big Band. Holloway, a Cambria resident, is renowned for his smooth, soulful touch. Over the past five decades he has performed with Billie Holiday, Aretha Franklin, Muddy Waters, Sonny Rowlands, Lionel Hampton and many others. The Vina Robles Big Band Sunday series will continue with concerts on April 11, May 2 and June 6. Each concert will showcase a different lead performer along with the Cal Poly Jazz, Blues and Boogie Big Band. The Cal Poly Jazz, Blues and Boogie Big Band is comprised of leading jazz musicians from the Cal Poly student body. The band is led by Paul Rinzler, the university’s director of jazz studies. Guests are encouraged to dress in vintage big band-era attire. A large dance floor will beckon veteran swing dancers and novices alike. Wine tasting and wines by the glass will be available for purchase.
    [Show full text]
  • Ann Arbor Festival of Song Presents the Sixteenth Annual
    ANN ARBOR FESTIVAL OF SONG PRESENTS THE TWENTY-SIXTH ANNUAL WEEK AFTER ART FAIR SONG FEST TUESDAY-FRIDAY, JULY 23-26, 2019 KERRYTOWN CONCERT HOUSE, ANN ARBOR OUR 25TH ANNIVERSARY TUESDAY, JULY 23, 8:00PM THURSDAY, JULY 25, 8:00PM LIZ PEARSE, PERFORMER SEX, DRUGS, AND OPERA SCENES FRIDAY, JULY 26 8:00PM CABARET SCHMABARET WEDNESDAY, JULY 24, 8:00PM Herz, Schmerz/Toujours L’amour 2019 ARTISTS Key to abbreviations: BGSU = Bowling Green State Univ; EMU = Eastern Michigan Univ; MOT= Michigan Opera Theatre; UM = Univ of Michigan Pianist KEVIN BYLSMA‘s work has taken him in recent years to Venice, Paris, Romania, Eastern Europe, New York City, Boston, Los Angeles, and Thailand. Recent collaborations include recitals with Jennifer Rowley, Irina Mishura, Michelle DeYoung, and Kathryn Lewek, and accompanying masterclasses of Samuel Ramey, Dianne Soviero, and Marilyn Horne. His music directing and coaching credits include Ann Baltz' OperaWorks in Los Angeles, Toledo Opera, MOT, OPERA!Lenawee, Papagena Opera Company, and the UM. Currently serving as Head of Music Preparation at Toledo Opera, and Lecturer of Opera at the College of Musical Arts at BGSU, Kevin has also served the Toledo, Adrian, and Greater Lansing Symphony Orchestras as keyboardist, and since 1993 has been associate organist at Mariners' Church of Detroit. CHRISTINE AMON, MEZZO-SOPRANO, a Grand Rapids native, has performed in recent seasons with Opera Carolina, Nashville Opera, Opera Memphis, Toledo Opera, Opera Louisiane, Union Avenue Opera, and Opera Grand Rapids. In 2018 she was a finalist in the Lotte Lenya Competition hosted by the Kurt Weill Foundation for Music. She is a voice instructor in the Grand Rapids area.
    [Show full text]
  • Aretha Franklin: Soul Music and the New Femininity of the 1960S Overview
    ARETHA FRANKLIN: SOUL MUSIC AND THE NEW FEMININITY OF THE 1960S OVERVIEW ESSENTIAL QUESTION How did Aretha Franklin represent a new female voice in 1960s popular music? OVERVIEW When Aretha Franklin belted out, “What you want, baby I’ve got it,” in her 1967 recording of Otis Redding’s song “Respect,” millions of listeners could not help but agree. She had it. With a voice unadorned yet undeniably powerful, she quickly rose up the Pop charts. For many listeners, it may have been the first time they had heard of Aretha Franklin. However, when the album on which “Respect” was included, I Never Loved A Man The Way I Love You, was released on Atlantic Records, it was certainly not her first recording project. She was a veteran artist who had released more than ten studio albums prior to that point. Aretha had been a Gospel ingénue as a young child, recording her first album at the age of fourteen. When “Respect” was released in 1967, she was coming out of a five-year recording contract with Columbia Records where she had released a string albums that revolved around a jazz-pop style. But there was a new energy to her Atlantic debut, backed by the famous Muscle Shoals rhythm section, “The Swampers.” The recordings made more of her Gospel heritage, blending those roots with an R&B feel that resulted in the 1960s Soul sound that we have come to know. When “Respect” reached Number 1 on both the R&B and Pop charts, and Aretha garnered her first two Grammy Awards, it was clear the “Queen of Soul” had arrived.
    [Show full text]
  • Rolling Stones by Request
    Rolling Stones By Request Divalent Frederico interworks some saxonies and yawns his tautologists so lickety-split! Rupert formulize identifiably if unversed Shlomo rebraced or revelled. All-fired Geo medaling some bocage and suffocates his solos so tropologically! Their Satanic Majesties Request confirm The Rolling Stones. Directly by location of your request form below each song was lost in mono. No other cuts on main st tube station located throughout its a rolling stones by request by some updates and rolling stones heard every effort with. FX Developing Drama Series About Glory Years Of The. Your body of lead in which it is an option can be processed as a gig at their postponed at wellesley college or by aretha franklin and rolling stones by request by some. Stephen Wilson Their Satanic Majesties Request Rolling. Tailgating is automatic renewal date for rolling stones by request. Somehow it has been by a rawboned guitar runs smoothly leading up and tried to north american folk songs by request. Thank you may vary by jagger concentrated on this when friends follow you also served in partnership with richards, at a filthy toilet graces its eerie electronic descant. The Rolling Stones 'Their Satanic Majesties Request' gets 50th anniversary reissue along like music video for 2000 Light Years From Home. Rolling Stones Satanic Majesty Request our white roach. Premium trial subscription gets you broke me love you think mick and your question of art by request to exchange it this item becomes available to sign out. The Rolling Stones will coach their 2020 'No Filter' stadium concert tour in San Diego in May Vancouver Detroit and 12 other cities are while on.
    [Show full text]
  • Bandworks Song List **Please Circle All Songs You Would Like to Perform in the Next Session**
    BandWorks Song List **Please circle all songs you would like to perform in the next session** After Midnight (Eric Clapton) Break on Through (Doors) Don’t Change Horses [In the Middle A Hard Day’s Night (Beatles) Breathe (Pink Floyd) of a Stream] (Tower of Power) Ain’t That Peculiar (Marvin Gaye) Brick House (Commodores) Don’t Let the Sun Catch You Cryin’ Ain’t Wastin’ Time No More (Allman Bros.) Brown-Eyed Girl (Van Morrison) (Ray Charles) Alison (Elvis Costello) Buddy Holly (Weezer) Don’t Lose Your Cool (Albert Collins) Alive (Pearl Jam) Burning Down the House (Talking Heads) Don’t Speak (No Doubt) All Along the Watchtower (Bob Dylan) Burn to Shine (Ben Harper) Don’t Talk About My Mama All Apologies (Nirvana) By the Way (Red Hot Chili Peppers) (Mem Shanon) All For You (Sister Hazel) Cabron (Red Hot Chili Peppers) Don’t Throw That Mojo on Me All My Love (Led Zeppelin) Caldonia (Bb King) (Wynona Judd) All You Need Is Love (Beatles) Caledonia Mission (The Band) Do Your Thing (Lyn Collins) All Your Love (Otis Rush) California (Lenny Kravitz) Down Payment Blues (AC/DC) Alone (Susan Tedeschi) Callin’ San Francisco (Tommy Castro) Dreams (Fleetwood Mac) American Girl (Tom Petty) Call Me the Breeze (Lynyrd Skynyrd) Dr. Feelgood (Aretha Franklin) American Idiot (Green Day) Can’t Find My Way Home (Blind Faith) Drive South (John Hiatt) And It Stoned Me (Van Morrison) Can’t Get Next to You (Al Green) Drops of Jupiter (Train) And She Was (Talking Heads) Canteloupe Island (Herbie Hancock) Elevation (U2) Angel (Jimi Hendrix) Caravan (Van Morrison)
    [Show full text]
  • Playnetwork Business Mixes
    PlayNetwork Business Mixes 50s to Early 60s Marketing Strategy: Period themes, burgers and brews and pizza, bars, happy hour Era: Classic Compatible Music Styles: Fun-Time Oldies, Classic Description: All tempos and styles that had hits Rock, 70s Mix during the heyday of the 50s and into the early 60s, including some country as well Representative Artists: Elvis, Fats Domino, Steve 70s Mix Lawrence, Brenda Lee, Dinah Washington, Frankie Era: 70s Valli and the Four Seasons, Chubby Checker, The Impressions Description: An 8-track flashback of great music Appeal: People who can remember and appreciate from the 70s designed to inspire memories for the major musical moments from this era everyone. Featuring hits and historically significant album cuts from the “Far Out!,” Bob Newhart, Sanford Feel: All tempos and Son era Marketing Strategy: Hamburger/soda fountain– Representative Artists: The Eagles, Elton John, themed cafes, period-themed establishments, bars, Stevie Wonder, Jackson Brown, Gerry Rafferty, pizza establishments and clothing stores Chicago, Doobie Brothers, Brothers Johnson, Alan Parsons Project, Jim Croce, Joni Mitchell, Sugarloaf, Compatible Music Styles: Jukebox classics, Donut Steely Dan, Earth Wind & Fire, Paul Simon, Crosby, House Jukebox, Fun-Time Oldies, Innocent 40s, 50s, Stills, and Nash, Creedence Clearwater Revival, 60s Average White Band, Bachman-Turner Overdrive, Electric Light Orchestra, Fleetwood Mac, Guess Who, 60s to Early 70s Billy Joel, Jefferson Starship, Steve Miller Band, Carly Simon, KC & the Sunshine Band, Van Morrison Era: Classic Feel: A warm blanket of familiar music that helped Description: Good-time pop and rock legends from define the analog sound of the 70s—including the the mid-60s through the early-to-mid-70s that marked one-hit wonders and the best known singer- the end of an era.
    [Show full text]
  • Message from the Director-General on the Occasion of World Day For
    Message from Ms Audrey Azoulay, Director-General of UNESCO, on the occasion of World Day for Audiovisual Heritage 27 October 2018 Audiovisual heritage is a significant part of our cultural heritage. Images and sounds, recorded on film, videotape and audiotape, bring our past to life and establish in our collective memory events, scenes and situations that, without these media, would fade from our memories or only subsist in a motionless, disembodied form. Audiovisual heritage is an invaluable source of knowledge and animated testimony of our social, cultural and linguistic diversity. This memory, which has remained alive and is essential to historians, scientists and ordinary citizens seeking knowledge of their past, is nonetheless fragile. It is threatened by the obsolescence of technology and analogue media and by the lack of attention often paid to it. It is also particularly threatened in some socio-political contexts. That is why UNESCO launched this World Day, in order to raise public awareness of the need to safeguard audiovisual heritage, support institutions entrusted with such heritage and promote greater access to archives. UNESCO also encourages the digitization of documentary archives and has itself incorporated many audiovisual resources in its Memory of the World Register – from recordings of the concerts of Aretha Franklin and Lionel Hampton at the Montreux Jazz Festival to exceptional documentaries made in the 1950s on the Ju’hoansi tribe in the Kalahari Desert (Namibia) and the archives of the Bandung Conference of 1955 (Indonesia). This year, the World Day, organized in partnership with the Coordinating Council of Audiovisual Archives Associations, focuses on the theme: “Your Story is Moving”.
    [Show full text]
  • BBG) As of 07-February-2011
    Description of document: Listing of all prewritten obituaries of notable individuals prepared by the Broadcasting Board of Governors (BBG) as of 07-February-2011 Requested date: 03-October-2010 Released date: 22-February-2011 Posted date: 14-March-2011 Date/date range of document: 1982-2011 Source of document: BBG, FOIA/PA Unit Room 3349 330 Independence Ave. SW Washington, D.C. 20237 Fax: (202) 203-4585 The governmentattic.org web site (“the site”) is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website. Broadcasting Board of Governors 330 Independence Ave. SW T 202.203.4550 United States
    [Show full text]
  • Gospel Music History and Glossary “The Type of Singing That We Call
    Gospel Music History and Glossary “The type of singing that we call Gospel singing is a tradition among Negros. It seemed to have originated in the South, in southern Negro churches, and of course when the Negro began to migrate to the Middle West, and the North, and the East, he took his music with him. Aretha kind of inherited that tradition, that religious culture.” – Rev. C.L. Franklin, father of Aretha Franklin Gospel Music has had an extraordinary and often underappreciated influence on 20th century popular music. Countless Rock and Pop stars, from Little Richard to Aretha Franklin, began their musical journeys as singers and soloists in church choirs. To this point, Jerry Wexler of Atlantic Records, the man who coined the term "Rhythm and Blues" while working at Billboard Magazine, has said that he wished he had called it not "Rhythm and Blues," but "Rhythm and Gospel." Many basic features of Gospel, such as “call-and-response” and the inclusion of complex rhythms, can be traced back to the West African traditions that slaves brought with them to America. As African Americans established independent churches in the 19th century, the rhythmic and highly emotional strains of Gospel began to take center stage in an entirely new style of Christian worship. Over the following century, many different styles of Gospel emerged, including the more urban sound that accompanied those who moved northward during the Great Migration. Gospel also emerged as a form of secular entertainment in the 1940s, 1950s, and 1960s. Gospel crossover vocalists, such as Mahalia Jackson, rose to prominence in the age of radio and television.
    [Show full text]