Issue 2, Vol. 2 February 17, 2013
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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. -
I Wanna Be Me”
Introduction The Sex Pistols’ “I Wanna Be Me” It gave us an identity. —Tom Petty on Beatlemania Wherever the relevance of speech is at stake, matters become political by definition, for speech is what makes man a political being. —Hannah Arendt, The Human Condition here fortune tellers sometimes read tea leaves as omens of things to come, there are now professionals who scrutinize songs, films, advertisements, and other artifacts of popular culture for what they reveal about the politics and the feel W of daily life at the time of their production. Instead of being consumed, they are historical artifacts to be studied and “read.” Or at least that is a common approach within cultural studies. But dated pop artifacts have another, living function. Throughout much of 1973 and early 1974, several working- class teens from west London’s Shepherd’s Bush district struggled to become a rock band. Like tens of thousands of such groups over the years, they learned to play together by copying older songs that they all liked. For guitarist Steve Jones and drummer Paul Cook, that meant the short, sharp rock songs of London bands like the Small Faces, the Kinks, and the Who. Most of the songs had been hits seven to ten 1 2 Introduction years earlier. They also learned some more current material, much of it associated with the band that succeeded the Small Faces, the brash “lad’s” rock of Rod Stewart’s version of the Faces. Ironically, the Rod Stewart songs they struggled to learn weren’t Rod Stewart songs at all. -
Features: Opinion: Arts& Entertainm
THE STUDENT NEWSPAPER OF MERCYHURST COLLEGE SINCE11929 Mercyhurst Collee u m Pa. 16546 The Merciad is also available at merciad.mercyhurstedu NEWS: American students Literary Festival brings studying abroad react to the attacks in Spain. authors to 1 PAGE 3 FEATURES: • Art students give! back to community fe by painting a mural at S K "m The Mercy Center * s* tap & for Women. tft&Z* m PAGE 5 m. OPINION: Vote for the new EKNv Madam Malarky! u PAGE 6 ARTS& F3e photo Rte photo ENTERTAINMENT: Authors Alicia Suskin Ostriker and Larry Heinemann will be two of the features of the second literary festival on campus. Events will be held throughout the month of April.% Mercyhurst dancers By Jonellc Davis team together with Contributing writer full time English and creative writ- Following his speech, Heinemann and music by students that were not Lake Erie Ballet to ing teacher at Rutgers University. will also be hosting a creative writing possible in the old version of the pub- perform "Dance Over the course of the school year Ostriker will be staying at the Mer- workshop in the Mercyhurst guest- lication. Bodfes/1" 1 many speakers and workshops are cyhurst College-gaesthoose;"formerly house at 9:30 a.m. on April 21. This brought to Mercyhurst College in the Cohen Health Center, where she lecture is also open to all students, Festival Importance: order to help faculty and students will be teaching a creative writing while the workshop is invitation only. When asked to comment about the PAGE 8 increase the quality of their educa- workshop on April 14, at 9:30 a.m. -
Wade Gordon James Nelson Concordia University May 1997
Never Mind The Authentic: You Wanted the Spectacle/ You've Got The Spectacle (And Nothing Else Matters?) Wade Gordon James Nelson A Thesis in The Department of Communication Studies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts ai Concordia University Montreal, Quebec, Canada May 1997 O Wade Nelson, 1997 National Library Bibliothèque nationale 191 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Weliington Ottawa ON KIA ON4 Ottawa ON KIA ON4 Canada Canada Your hie Votre réference Our file Notre reldrence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of ths thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/fh, de reproduction sur papier ou sur fomat électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in thi s thesis. Neither the droit d'auteur qui protège cette thése. thesis nor substantiai extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT Never Mind The Authentic: You Wanted The Spectacle/ Y ou've Got The Spectacle (And Nothing Else Matters?) Wade Nelson This thesis examines criteria of valuation in regard to popular music. -
The Sex Pistols: Punk Rock As Protest Rhetoric
UNLV Retrospective Theses & Dissertations 1-1-2002 The Sex Pistols: Punk rock as protest rhetoric Cari Elaine Byers University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Byers, Cari Elaine, "The Sex Pistols: Punk rock as protest rhetoric" (2002). UNLV Retrospective Theses & Dissertations. 1423. http://dx.doi.org/10.25669/yfq8-0mgs This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. -
Pretty Vacant: a History of UK Punk
Pretty Vacant: A History of UK Punk Pretty Vacant: A History of UK Punk. Phil Strongman. 289 pages. Chicago Review Press, 2008. 1556527527, 9781556527524. 2008 London, early 1976. Oxford Street is a sea of long hair and flared jeans; prog rock prevails. But Ron Watts, the 100 Club’s "rock night” manager, has witnessed the impromptu and chaotic gigs at High Wycombe College of Art. He invites the Sex Pistols to start a residency in central London, and over the next eighteen months, everything changes.            Unlike many writers, Phil Strongman was actually at the 100 Club punk festival in September 1976 and witnessed punk’s violent and dramatic rise. After tracing its underground roots in New York and Detroit, Strongman shows how the Sex Pistols and the Clash, along with their confreres, took rock ’n’ roll closer to the edge than any band before them. But after the outrage over the Pistols’ legendary outburst on Bill Grundy’s TV show catapulted the band into the center of a press feeding frenzy, it was swiftly eclipsed by the blossoming of a new movement in time for the Queen’s Silver Jubilee. Punk had traveled from the underground to the mainstream in the space of six months.            Based on new interviews with Malcolm McLaren, Jah Wobble, Glen Matlock, Roadent, and many more, Strongman vividly re-creates the punk eruption and charts its spread across Britain and to the West Coast of the United States. -
'I Wanna See Some History': Recent Writing on British Punk
‘I Wanna See Some History’: Recent Writing on British Punk Forum: Alternative Musical Geographies: Popular Music and Space in Post-War German History DAVID WILKINSON, MATTHEW WORLEY AND JOHN STREET Viv Albertine, Clothes, Clothes, Clothes, Music, Music, Music, Boys, Boys, Boys (London: Faber & Faber, 2015) 432 pp. (pb), £8.99 ISBN 978-0-5713-2828-4. Nick Crossley, Networks of Sound, Style and Subversion (Manchester: Manchester University Press, 2015) 288 pp. (pb), £17.99,ISBN978-0-7190-8865-0. Pete Dale, Anyone Can Do It: Empowerment, Tradition and the Punk Underground (London: Routledge, 2012) 256 pp. (hb), £95,ISBN978-1-4094-4432-9. Tucked away on the b-side of the Sex Pistols’ third single, ‘Pretty Vacant’ (1977), is a cover version of The Stooges’ ‘No Fun’. The song had long been a staple of the Pistols’ live set; on record, however, Johnny Rotten chose to open the track with a diatribe against those attempting to imbue the punk culture he helped instigate with broader socio-economic, cultural or political implications. ‘Here we go now’, he snarled, ‘a sociology lecture, with a bit of psychology, a bit of neurology, a bit of fuckology’.1 The target of Rotten’s ire was the tendency of journalists such as Caroline Coon to underpin punk’s anger with reference to the desperate economic circumstances of the mid-1970s. It was only ‘natural’, Coon had suggested, that a group of ‘deprived London street kids’ such as the Sex Pistols would produce music ‘with a startlingly anti-establishment bias’.2 But if Rotten was not so sure, then academics, journalists and political commenters have – perhaps predictably – tended to side with Coon. -
Serra-Joan-Identification-Of-Versions
Identification of Versions of the Same Musical Composition by Processing Audio Descriptions Joan Serrà Julià TESI DOCTORAL UPF / 2011 Director de la tesi: Dr. Xavier Serra i Casals Dept. of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Copyright c Joan Serrà Julià, 2011. Dissertation submitted to the Deptartment of Information and Communica- tion Technologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA, with the mention of European Doctor. Music Technology Group (http://mtg.upf.edu), Dept. of Information and Communica- tion Technologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www. upf.edu), Barcelona, Spain. Als meus avis. Acknowledgements I remember I was quite shocked when, one of the very first times I went to the MTG, Perfecto Herrera suggested that I work on the automatic identification of versions of musical pieces. I had played versions (both amateur and pro- fessionally) since I was 13 but, although being familiar with many MIR tasks, I had never thought of version identification before. Furthermore, how could they (the MTG people) know that I played song versions? I don’t think I had told them anything about this aspect... Before that meeting with Perfe, I had discussed a few research topics with Xavier Serra and, after he gave me feedback on a number of research proposals I had, I decided to submit one related to the exploitation of the temporal information of music descriptors for music similarity. Therefore, when Perfe suggested the topic of version identification I initially thought that such a suggestion was not related to my proposal at all. -
EU Page 1 COVER.Indd
JACKSONVILLE get wet this summer A Look at Our Area Beaches, Springs and Water Parks Casa Marina review | Blackwater Sol Revue | Chamblin’s Bookmine goes Uptown | G. Love interview free monthly guide to entertainment and more | august 2008 | www.eujacksonville.com 2 AUGUST 2008 | eu jacksonville monthly contents 5-13 17 14-15 feature family pages 5-13 beaches page 23 family events pages 10-11 mayport in pictures page 24 water safety page 14-15 area springs page 24 family water spots page 16 disney water parks on the cover music Photo by A.M. Stewart a better u page 25 blackwater sol revue Model: Baunfi re, local to FL, page 15 a greener u page 25 cody dickinson interview performs alternative modeling page 21 virtuous femina page 26-30 music events across the country. page 31 g. love interview A.M. creates a variety of authentic dish images spurring from the depths page 17 casa marina’s penthouse lounge theatre & culture page 19 chamblin’s uptown books of her imagination. Specializing page 18 dish update + food events in the unordinary, A.M. welcomes page 18 ingredient secrets page 32 cultural events commissions. myspace.com/ amstewartview; amstewartview@ home visual arts gmail.com page 19 olympics page 33 scapel to sketch page 20 notes from the bachelor pad page 33 art events page 22 netscapades movies page 34-35 new movie formats august 08 page 36-39 august movies + special showings 33 20 graphic by eric staniford 31 eujacksonville.com | AUGUST 2008 3 eu staff managing director Shelley Henley creative director Rachel Best Henley senior writer food editor Rick Grant Erin Thursby specialty features Jon Bosworth contributing writers Kellie Abrahamson Jennifer McCharen Laura Britton Troy Spurlin Brenton Crozier A.M. -
ADAM and the ANTS Adam and the Ants Were Formed in 1977 in London, England
ADAM AND THE ANTS Adam and the Ants were formed in 1977 in London, England. They existed in two incarnations. One of which lasted from 1977 until 1982 known as The Ants. This was considered their Punk era. The second incarnation known as Adam and the Ants also featured Adam Ant on vocals, but the rest of the band changed quite frequently. This would mark their shift to new wave/post-punk. They would release ten studio albums and twenty-five singles. Their hits include Stand and Deliver, Antmusic, Antrap, Prince Charming, and Kings of the Wild Frontier. A large part of their identity was the uniform Adam Ant wore on stage that consisted of blue and gold material as well as his sophisticated and dramatic stage presence. Click the band name above. ECHO AND THE BUNNYMEN Formed in Liverpool, England in 1978 post-punk/new wave band Echo and the Bunnymen consisted of Ian McCulloch (vocals, guitar), Will Sergeant (guitar), Les Pattinson (bass), and Pete de Freitas (drums). They produced thirteen studio albums and thirty singles. Their debut album Crocodiles would make it to the top twenty list in the UK. Some of their hits include Killing Moon, Bring on the Dancing Horses, The Cutter, Rescue, Back of Love, and Lips Like Sugar. A very large part of their identity was silohuettes. Their music videos and album covers often included silohuettes of the band. They also have somewhat dark undertones to their music that are conveyed through the design. Click the band name above. THE CLASH Formed in London, England in 1976, The Clash were a punk rock group consisting of Joe Strummer (vocals, guitar), Mick Jones (vocals, guitar), Paul Simonon (bass), and Topper Headon (drums). -
Mediated Music Makers. Constructing Author Images in Popular Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. -
Williams, Justin A. (2010) Musical Borrowing in Hip-Hop Music: Theoretical Frameworks and Case Studies
Williams, Justin A. (2010) Musical borrowing in hip-hop music: theoretical frameworks and case studies. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11081/1/JustinWilliams_PhDfinal.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] MUSICAL BORROWING IN HIP-HOP MUSIC: THEORETICAL FRAMEWORKS AND CASE STUDIES Justin A.