Mcgill B Questions By: Annabel Levine, Zach Margolis, Rachael Hardies, Mark Stern
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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. -
Taking Intellectual Property Into Their Own Hands
Taking Intellectual Property into Their Own Hands Amy Adler* & Jeanne C. Fromer** When we think about people seeking relief for infringement of their intellectual property rights under copyright and trademark laws, we typically assume they will operate within an overtly legal scheme. By contrast, creators of works that lie outside the subject matter, or at least outside the heartland, of intellectual property law often remedy copying of their works by asserting extralegal norms within their own tight-knit communities. In recent years, however, there has been a growing third category of relief-seekers: those taking intellectual property into their own hands, seeking relief outside the legal system for copying of works that fall well within the heartland of copyright or trademark laws, such as visual art, music, and fashion. They exercise intellectual property self-help in a constellation of ways. Most frequently, they use shaming, principally through social media or a similar platform, to call out perceived misappropriations. Other times, they reappropriate perceived misappropriations, therein generating new creative works. This Article identifies, illustrates, and analyzes this phenomenon using a diverse array of recent examples. Aggrieved creators can use self-help of the sorts we describe to accomplish much of what they hope to derive from successful infringement litigation: collect monetary damages, stop the appropriation, insist on attribution of their work, and correct potential misattributions of a misappropriation. We evaluate the benefits and demerits of intellectual property self-help as compared with more traditional intellectual property enforcement. DOI: https://doi.org/10.15779/Z38KP7TR8W Copyright © 2019 California Law Review, Inc. California Law Review, Inc. -
University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand marking: or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
“Bo Diddley” and “I'm a Man” (1955)
“Bo Diddley” and “I’m a Man” (1955) Added to the National Registry: 2011 Essay by Ed Komara (guest post)* Bo Diddley While waiting in Bo Diddley’s house to conduct an interview for the February 12, 1987 issue of “Rolling Stone,” journalist Kurt Loder noticed a poster. “If You Think Rock and Roll Started With Elvis,” it proclaimed, “You Don’t Know Diddley.” This statement seems exaggerated, but upon listening to Diddley’s April 1955 debut 78 on Checker 814, “Bo Diddley” backed with “I’m A Man,” it becomes apt, perhaps even understated. Bo Diddley (1928-2008) described his own place in music history to Loder. “People wouldn’t even bother with no stuff like ‘Bo Diddley’ and ‘I’m A Man’ and stuff like that ten years earlier [circa 1945] or even a year earlier [1954]. Then Leonard and Phil Chess decided to take a chance, and suddenly a whole different scene, a different kind of music, came in. And that was the beginning of rock and roll.” The composer credit for Checker 814 reads “E. McDaniels,” and there begins the tale. Bo Diddley was born Ellas Otha Bates in McComb, Mississippi on December 30, 1928 to a teenage mother and her local boyfriend. He was raised, however, by his maternal first cousin, Gussie McDaniel, to whom he was taken to Chicago, and given her surname McDaniel. He grew up on the South Side of the city, where he learned violin, trombone and, at age 12, the guitar. Before long, he was playing for change on the local streets. -
Rap in the Context of African-American Cultural Memory Levern G
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Empowerment and Enslavement: Rap in the Context of African-American Cultural Memory Levern G. Rollins-Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES EMPOWERMENT AND ENSLAVEMENT: RAP IN THE CONTEXT OF AFRICAN-AMERICAN CULTURAL MEMORY By LEVERN G. ROLLINS-HAYNES A Dissertation submitted to the Interdisciplinary Program in the Humanities (IPH) in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 The members of the Committee approve the Dissertation of Levern G. Rollins- Haynes defended on June 16, 2006 _____________________________________ Charles Brewer Professor Directing Dissertation _____________________________________ Xiuwen Liu Outside Committee Member _____________________________________ Maricarmen Martinez Committee Member _____________________________________ Frank Gunderson Committee Member Approved: __________________________________________ David Johnson, Chair, Humanities Department __________________________________________ Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my husband, Keith; my mother, Richardine; and my belated sister, Deloris. iii ACKNOWLEDGEMENTS Very special thanks and love to -
WDAM Radio Presents the Rest of the Story
WDAM Radio Presents The Rest Of The Story # Artist Title Chart Comments Position/Year 0000 Mr. Announcer & The “Introduction/Station WDAM Radio Singers Identification” 0001 Big Mama Thornton “Hound Dog” #1-R&B/1953 0001A Rufus Thomas "Bear Cat" #3-R&B/1953 0001A_ Charlie Gore & Louis “You Ain't Nothin' But A –/1953 Innes Female Hound Dog” 0001AA Romancers “House Cat” –/1955 0001B Elvis Presley “Hound Dog” #1/1956 0001BA Frank (Dual Trumpet) “New Hound Dog” –/1956 Motley & His Crew 0001C Homer & Jethro “Houn’ Dog (Take 2)” –/1956 0001D Pati Palin “Alley Cat” –/1956 0001E Cliff Johnson “Go ‘Way Hound Dog” –/1958 0002 Gary Lewis & The "Count Me In" #2/1965 Playboys 0002A Little Jonna Jaye "I'll Count You In" –/1965 0003 Joanie Sommers "One Boy" #54/1960 0003A Ritchie Dean "One Girl" –/1960 0004 Angels "My Boyfriend's Back" #1/1963 0004A Bobby Comstock & "Your Boyfriend's Back" #98/1963 The Counts 0004AA Denny Rendell “I’m Back Baby” –/1963 0004B Angels "The Guy With The Black Eye" –/1963 0004C Alice Donut "My Boyfriend's Back" –/1990 adult content 0005 Beatles [with Tony "My Bonnie" #26/1964 Sheridan] 0005A Bonnie Brooks "Bring Back My Beatles (To –/1964 Me)" 0006 Beach Boys "California Girls" #3/1965 0006A Cagle & Klender "Ocean City Girls" –/1985 0006B Thomas & Turpin "Marietta Girls" –/1985 0007 Mike Douglas "The Men In My Little Girl's #8/1965 Life" 0007A Fran Allison "The Girls In My Little Boy's –/1965 Life" 0007B Cousin Fescue "The Hoods In My Little Girl's –/1965 Life" 0008 Dawn "Tie A Yellow Ribbon Round #1/1973 the Ole Oak Tree" -
Rap Vocality and the Construction of Identity
RAP VOCALITY AND THE CONSTRUCTION OF IDENTITY by Alyssa S. Woods A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Theory) in The University of Michigan 2009 Doctoral Committee: Associate Professor Nadine M. Hubbs, Chair Professor Marion A. Guck Professor Andrew W. Mead Assistant Professor Lori Brooks Assistant Professor Charles H. Garrett © Alyssa S. Woods __________________________________________ 2009 Acknowledgements This project would not have been possible without the support and encouragement of many people. I would like to thank my advisor, Nadine Hubbs, for guiding me through this process. Her support and mentorship has been invaluable. I would also like to thank my committee members; Charles Garrett, Lori Brooks, and particularly Marion Guck and Andrew Mead for supporting me throughout my entire doctoral degree. I would like to thank my colleagues at the University of Michigan for their friendship and encouragement, particularly Rene Daley, Daniel Stevens, Phil Duker, and Steve Reale. I would like to thank Lori Burns, Murray Dineen, Roxanne Prevost, and John Armstrong for their continued support throughout the years. I owe my sincerest gratitude to my friends who assisted with editorial comments: Karen Huang and Rajiv Bhola. I would also like to thank Lisa Miller for her assistance with musical examples. Thank you to my friends and family in Ottawa who have been a stronghold for me, both during my time in Michigan, as well as upon my return to Ottawa. And finally, I would like to thank my husband Rob for his patience, advice, and encouragement. I would not have completed this without you. -
And a Letter to My Customers ===
--- == ROOTS & RHYTHM - SALE 01/12/2014 - AND A LETTER TO MY CUSTOMERS === --- Dear Friends Happy New Year! We hope you all had a wonderful holiday season. NOTE: Regrettably our holiday season was the slowest we've ever seen and it may mean that we will not be able to continue operating our business for very much longer. I am no longer a young man (not by a long shot!) and don't have the energy to pursue ways in which we may be able to promote the business. I would love to be able to settle down and listen to all the music I have gathered over the years in a relaxed setting and with critical reviewing faculties turned off. I would love to see Roots & Rhythm continue and thrive and even if we make it through the current crisis I would still like to get away from the stress of running a business so I am open to having someone else take over and move the company forward. If you are such a person or know such a person please contact me and we can discuss it. This list consists of a sale which we hope will raise enough money to help us get caught up with our suppliers and our taxes as well as some other pressing expenses. This list features 600 titles in all covering all the genres of music we specialize in and featuring books, DVDs and compact discs. This list includes manufacturer?s overstocks and deletions, our own excess inventory and a lot of titles that have been sitting on our shelves that have never been listed before. -
Collaboration and Innovation in Country Music: Analyzing Lyrics A.P
Collaboration and Innovation in Country Music: Analyzing Lyrics A.P. Carter was called a “songcatcher,” a musician who collected lyrics and melodies from family members, friends, and neighbors. Carter worked and traveled with African American musician Lesley Riddle to gather music from towns throughout the U.S. On one of these song-catching trips, Carter found the folk tune that became the the Carter Family's 1929 “I’m Thinking Tonight of My Blue Eyes.” A string of country song-writers — Roy Acuff, Hank Thompson, and Kitty Wells — produced their own hit songs by writing new lyrics to the same melody in the decades that followed. In this ELA exercise, students will compare meaning through lyrical analysis, learn about the concept of an "answer song," and consider the role of collaboration and iteration in music and art more broadly. Lesson Summary In this three-part activity, students will trace the evolution of two melodies and their associated lyrics through country music's history. As they explore how these melodies have been adapted to different messages over time, students will have the opportunity to discuss the role of collaboration in music. They will be introduced to foundational acts in country music, including the Carter Family, Roy Acuff, Hank Thompson, and Kitty Wells. Students will conclude by writing their own lyrics to a melody which will have become familiar. Time Allotment 2-3 class periods. Supplies • Lyrics sheet • The Carter Family: Song-Catching and the “Carter Scratch” • Roy Acuff’s “Great Speckled Bird” • Kitty Wells’ “It Wasn’t God Who Made Honky Tonk Angels” Introductory Activity The Carter Family is widely regarded as one of the foundational acts in country music’s history. -
WDAM Radio's History of Jan & Dean
WDAM Radio's Hit Singles History Of Jan & Dean # Artist Title Chart Comments Position/Year 01 01 Jan & Arnie “Jennie Lee” #8/1958 Song inspired by a poster featuring a local, Hollywood burlesque performer, Virginia Lee Hicks, who was then performing as Jennie Lee, the "Bazoom Girl", at the New Follies Burlesk at 548 S. Main St, Los Angeles. 01A Billy Ward & His Dominoes “Jennie Lee” #55/1958 02 Jan & Arnie “Gas Money” #81/1958 03 Jan & Dean “Baby Talk” #10/1959 Initial pressings incorrectly credited “Jan & Arnie.” 03A Laurels “Baby Talk” –/1958 Original version. 03B Jan & Dean “She’s Still Talking Baby Talk” –/1962 Answer song. 04 Jan & Dean “There’s A Girl” #97/1959 05 Jan & Dean “Clementine” #65/1960 Released 2/8/1960. 05A Bobby Darin “Clementine” #21/1960 Released 3/21/1960. 05B Bing Crosby “Clementine” #20/1941 06 Jan & Dean “We Go Together” #53/1960 07 Crows – “Gee” “Gee” #13/1954 07A Jan & Dean “Gee” #81/1960 07B Pixies Three “Gee” #87/1964 08 Jan & Dean “Heart And Soul” #25/1961 Released 6/26/1961 08A Cleftones “Heart And Soul” #18/1961 Released 5/22/1961 08B Johnny Maddox & The “Heart And Soul” #57/1956 Rhythmasters 08C Four Aces “Heart And Soul” #11/1952 08D Larry Clinton & His Orchestra “Heart And Soul” #1/1938 From the film, A Song Is Born. Original version. [Vocal – Bea Wain] 08E Al Donahue & His Orchestra “Heart And Soul” #16/1938 [Vocal – Paula Kelly] 08F Eddy Duchin & His Orchestra “Heart And Soul” #12/1938 08G Eddy Duchin & His Orchestra “Riptide” #3/1934 Same melody as “Heart And Soul.” Label credits read [Vocal - Lew Sherwood & The “Dedicated To The M-G-M Film Riptide,” which starred DeMarco Sisters] Norma Shearer. -
Order Realm Sub-Realm Question Answer Song Artist Time
Order Realm Sub-realm Question Answer Song Artist Time What was the home state of Geographical Let's get things Peanuts cartoonist Charles Shultz Minnesota Pig- . Linus and Lucy Vince Guirauldi 3:02 1 Cartoons started and who was his dirtiest Pen character? By night they hunt ghosts. By day, The Legend of "Who ya gonna Charlie Daniels . Niche TV what company do Grant Wilson Roto-Rooter Wooley 4:13 call?" Band 2 and Jason Hawes work for? Swamp When Brodie and TS go to the second mall of their day, TS tries Does this hat Kevin Smith on a hat. What word is stitched . make me look Clerks Chewbacca Supernova 1:24 Films onto the front of the hat? 3 fat? WARNING: SHORT SONG Agatha Christie's longest-running Don't Spoil the God Save the . Theatah! West End mystery was written for Queen Mary Jimi Hendrix 2:26 Ending! Queen 4 whose 80th birthday? British veterinarian turned You want me to computer programmer Sarah Animal The Haptic Cows with . put my hand Baillie created an artificial cow's Dana Lyons 5:20 Husbandry Cow Guns 5 WHERE? butt to train would-be livestock vets. What's her invention called? Which of the famed "Real Men of Mr. Dedicated Potent Beer for fun and Genius" was said to be a funny Houston It's Not Right, Whitney . 4:15 6 Potables profit bunny train conductor who wore Astros Mascot But It's Okay Houston size 25 fluffy shoes? (Junction Jack) In Spring 2007, overcrowding at a Dance, Blood on the concert in Goodrich Hall caused Something So Crowded . -
HERE`S a LITTLE STORY THAT MUST BE TOLD Microphone Grandmistresses, Lady Def Jams, Battle Queens, Mixmistresses, Fly Emcees, Spinderellas from the Late 70S to 1990
JEE-NICE PRESENTS: HERE`S A LITTLE STORY THAT MUST BE TOLD Microphone Grandmistresses, Lady Def Jams, Battle Queens, Mixmistresses, Fly Emcees, Spinderellas from the late 70s to 1990. Enjoy & spread the word! This Booklet is dedicated to all the ladies who rock da mike and spin the turntables. This copied fan-mag tries to discover the story of female hiphop activity from the beginning of hiphop culture in the late 70s to 1990. There is a cut in 1990. It was difficult to draw that line, to decide which artists to include and which not. Yo Yo, Queen Mother Rage, Sister Souljah, BWP, Conscious Daughters are not in it because they are more 90s then 80s. Nikki D, Tairrie B. and L.A. Star are on the edge, but I included them, because they are more 80s. What I did was to collect all the lyrics and pictures, which I could find and republish facts which are important for making history. I didn’t want to write anything new, I wanted to collect, to see what you can find out (in Germany), if you want to. In the end it’s not much and nothing that was published in the german language. You will find the source material in an appendix, so that you can check out where it comes from and read more, if you want to. Pictures without numbers are from my own record collection. This compilation can’t be complete and some facts will be wrong, but I have tried to make it as accurate as I can.