"We Insist! Freedom Now": Does Contract Doctrine Have Anything Consitutional to Say?
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Building a Better Mousetrap: Patenting Biotechnology in The
DRUZIN-FINAL FINAL (DO NOT DELETE) 10/24/2014 3:19 PM RESTRAINING THE HAND OF LAW: A CONCEPTUAL FRAMEWORK TO SHRINK THE SIZE OF LAW Bryan Druzin∗ ABSTRACT ............................................................................................... 59 I. INTRODUCTION ........................................................................................ 60 II. THE CASE FOR MINIMALISM ................................................................... 64 A. Assumptions and Starting Points ..................................................... 64 B. The Benefits of Minimalism ............................................................. 66 C. The Minimalist Approach to Economic Regulation ......................... 70 D. The Liability of Ideology—Both Left and Right ............................... 72 III. ARTICULATING A FRAMEWORK FOR LEGISLATIVE MINIMALISM ........... 73 A. Non-Interference .............................................................................. 75 B. Formalizing ...................................................................................... 77 C. Fine-Tuning ..................................................................................... 83 D. Dismantling ...................................................................................... 84 E. Concocting ....................................................................................... 85 IV. CLARIFYING THE FRAMEWORK ............................................................... 86 A. A Tabulated Comparison of the Strategies ..................................... -
Booker Little
1 The TRUMPET of BOOKER LITTLE Solographer: Jan Evensmo Last update: Feb. 11, 2020 2 Born: Memphis, April 2, 1938 Died: NYC. Oct. 5, 1961 Introduction: You may not believe this, but the vintage Oslo Jazz Circle, firmly founded on the swinging thirties, was very interested in the modern trends represented by Eric Dolphy and through him, was introduced to the magnificent trumpet playing by the young Booker Little. Even those sceptical in the beginning gave in and agreed that here was something very special. History: Born into a musical family and played clarinet for a few months before taking up the trumpet at the age of 12; he took part in jam sessions with Phineas Newborn while still in his teens. Graduated from Manassas High School. While attending the Chicago Conservatory (1956-58) he played with Johnny Griffin and Walter Perkins’s group MJT+3; he then played with Max Roach (June 1958 to February 1959), worked as a freelancer in New York with, among others, Mal Waldron, and from February 1960 worked again with Roach. With Eric Dolphy he took part in the recording of John Coltrane’s album “Africa Brass” (1961) and led a quintet at the Five Spot in New York in July 1961. Booker Little’s playing was characterized by an open, gentle tone, a breathy attack on individual notes, a nd a subtle vibrato. His soli had the brisk tempi, wide range, and clean lines of hard bop, but he also enlarged his musical vocabulary by making sophisticated use of dissonance, which, especially in his collaborations with Dolphy, brought his playing close to free jazz. -
Victory and Sorrow: the Music & Life of Booker Little
ii VICTORY AND SORROW: THE MUSIC & LIFE OF BOOKER LITTLE by DYLAN LAGAMMA A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History & Research written under the direction of Henry Martin and approved by _________________________ _________________________ Newark, New Jersey October 2017 i ©2017 Dylan LaGamma ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION VICTORY AND SORROW: THE MUSICAL LIFE OF BOOKER LITTLE BY DYLAN LAGAMMA Dissertation Director: Henry Martin Booker Little, a masterful trumpeter and composer, passed away in 1961 at the age of twenty-three. Little's untimely death, and still yet extensive recording career,1 presents yet another example of early passing among innovative and influential trumpeters. Like Clifford Brown before him, Theodore “Fats” Navarro before him, Little's death left a gap the in jazz world as both a sophisticated technician and an inspiring composer. However, unlike his predecessors Little is hardly – if ever – mentioned in jazz texts and classrooms. His influence is all but non-existent except to those who have researched his work. More than likely he is the victim of too early a death: Brown passed away at twenty-five and Navarro, twenty-six. Bob Cranshaw, who is present on Little's first recording,2 remarks, “Nobody got a chance to really experience [him]...very few remember him because nobody got a chance to really hear him or see him.”3 Given this, and his later work with more avant-garde and dissonant harmonic/melodic structure as a writing partner with Eric Dolphy, it is no wonder that his remembered career has followed more the path of James P. -
Liberty of Contract
YALE LAW JOURNAL LIBERTY OF CONTRACT "The right of a person to sell his labor," says Mr. Justice Harlan, "upon such terms as he deems proper, is in its essence, the same as the right of the purchaser of labor to prescribe the conditions upon which he will accept such labor from the person offering to sell it. So the right of the employee to quit the service of the employer, for whatever reason, is the same as the right of the employer, for whatever reason, to dispense with the ser- vices of such employee ........ In all such particulars the employer and the employee have equality of right, and any legis- lation that disturbs that equality is an arbitrary interference with the liberty of contract, which no government can legally justify in a free land." ' With this positive declaration of a lawyer, the culmination of a line of decisions now nearly twenty- five years old, a statement which a recent writer on the science of jurisprudence has deemed so fundamental as to deserve quotation and exposition at an unusual length, as compared with his treat- ment of other points, 2 let us compare the equally positive state- ment of a sociologist: "Much of the discussion about 'equal rights' is utterly hollow. All the ado made over the system of contract is surcharged with fallacy." ' To everyone acquainted at first hand with actual industrial conditions the latter statement goes without saying. Why, then do courts persist in the fallacy? Why do so many of them force upon legislation an academic theory of equality in the face of practical conditions of inequality? Why do we find a great and learned court in 19o8 taking the long step into the past of deal- ing with the relation between employer and employee in railway transportation, as if the parties were individuals-as if they were farmers haggling over the sale of a horse ? 4 Why is the legal conception of the relation of employer and employee so at variance with the common knowledge of mankind? The late Presi- ' Adair v. -
Jazz Music and Social Protest
Vol. 5(1), pp. 1-5, March, 2015 DOI: 10.5897/JMD2014.0030 Article Number: 5AEAC5251488 ISSN 2360-8579 Journal of Music and Dance Copyright © 2015 Author(s) retain the copyright of this article http://www.academicjournals.org/JMD Full Length Research Paper Playing out loud: Jazz music and social protest Ricardo Nuno Futre Pinheiro Universidade Lusíada de Lisboa, Portugal. Received 4 September, 2014; Accepted 9 March, 2015 This article addresses the historical relationship between jazz music and political commentary. Departing from the analysis of historical recordings and bibliography, this work will examine the circumstances in which jazz musicians assumed attitudes of political and social protest through music. These attitudes resulted in the establishment of a close bond between some jazz musicians and the Civil Rights Movement in the 1950s and 1960s; the conceptual framing of the free jazz movement that emerged in the late 1950s and early 60s; the use on non-western musical influences by musicians such as John Coltrane; the rejection of the “entertainer” stereotype in the bebop era in the 1940s; and the ideas behind representing through music the African-American experience in the period of the Harlem Renaissance, in the 1920’s. Key words: Politics, jazz, protest, freedom, activism. INTRODUCTION Music incorporates multiple meanings 1 shaped by the supremacy that prevailed in the United States and the principles that regulate musical concepts, processes and colonial world3. products. Over the years, jazz music has carried numerous “messages” containing many attitudes and principles, playing a crucial role as an instrument of Civil rights and political messages dissemination of political viewpoints. -
BROWNIE the Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet
BROWNIE The Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet Dan Morgenstern Grammy Award for Best Album Notes 1990 Disc 1 1. DELILAH 8:04 Clifford Brown-Max RoaCh Quintet: (V. Young) Clifford Brown (tp), Harold Land (ts), Richie 2. DARN THAT DREAM 4:02 Powell (p), George Morrow (b), Max RoaCh (De Lange - V. Heusen) (ds) 3. PARISIAN THOROUGHFARE 7:16 (B. Powell) 4. JORDU 7:43 (D. Jordan) 5. SWEET CLIFFORD 6:40 (C. Brown) 6. SWEET CLIFFORD (CLIFFORD’S FANTASY)* 1:45 1~3: Los Angeles, August 2, 1954 (C. Brown) 7. I DON’T STAND A GHOST OF A CHANCE* 3:03 4~8: Los Angeles, August 3, 1954 (Crosby - Washington - Young) 8. I DON’ T STAND A GHOST OF A CHANC E 7:19 9~12: Los Angeles, August 5, 1954 (Crosby - Washington - Young) 9. STOMPIN’ AT TH E SAVOY 6:24 (Goodman - Sampson - Razaf - Webb) 10. I GET A KICK OUT OF YOU 7:36 (C. Porter) 11. I GET A KICK OUT OF YOU* 8:29 * Previously released alternate take (C. Porter) 12. I’ LL STRING ALONG WITH YOU 4:10 (Warren - Dubin) Disc 2 1. JOY SPRING* 6:44 (C. Brown) Clifford Brown-Max RoaCh Quintet: 2. JOY SPRING 6:49 (C. Brown) Clifford Brown (tp), Harold Land (ts), Richie 3. MILDAMA* 3:33 (M. Roach) Powell (p), George Morrow (b), Max RoaCh (ds) 4. MILDAMA* 3:22 (M. Roach) Los Angeles, August 6, 1954 5. MILDAMA* 3:55 (M. Roach) 6. -
Contracts of Adhesion-Some Thoughts About Freedom of Contract
CONTRACTS OF ADHESION-SOME THOUGHTS ABOUT FREEDOM OF CONTRACT FRIEDRICH KESSLER With the development of a free enterprise system based on an un- heard of division of labor, capitalistic society needed a highly elastic legal institution to safeguard the exchange of goods and services on the market. Common law lawyers, responding to this social need, trans- formed "contract" from the clumsy institution that it was in the six- teenth century into a tool of almost unlimited usefulness and pliability. Contract thus became the indispensable instrument of the enterpriser, enabling him to go about his affairs in a rational way. Rational be- havior within the context of our culture is only possible if agreements will be respected. It requires that reasonable expectations created by promises receive the protection of the law or else we will suffer the fate of Montesquieu's Troglodytes, who perished because they did not ful- fill their promises. This idea permeates our whole law of contracts, the doctrines dealing with their formation, performance, impossibility and damages. Under a free enterprise system rationality of the law of contracts has still another aspect.1 To keep pace with the constant widening of the market the legal system has to place at the disposal of the members of the community an ever increasing number of typical business trans- actions and regulate their consequences. But the law cannot possibly anticipate the content of an infinite number of atypical transactions into which members of the community may need to enter. Society, therefore, has to give the parties freedom of contract; to accommodate the business community the ceremony necessary to vouch for the delib- erate nature of a transaction has to be reduced to the absolute minimum. -
Saxophone Colossus”—Sonny Rollins (1956) Added to the National Registry: 2016 Essay by Hugh Wyatt (Guest Essay)*
“Saxophone Colossus”—Sonny Rollins (1956) Added to the National Registry: 2016 Essay by Hugh Wyatt (guest essay)* Album cover Original album Rollins, c. 1956 The moniker “Saxophone Colossus” aptly describes the magnitude of the man and his music. Walter Theodore Rollins is better known worldwide as the jazz giant Sonny Rollins, but in addition to Saxophone Colossus, he has also been given other nicknames, most notably “Newk” because of his resemblance to baseball legend Don Newcombe. To use a cliché, Saxophone Colossus best describes Sonny because he is bigger than life. He is an African American of mammoth importance not only because he is the last major remaining jazz trailblazer, but also because he helped to inspire millions of fans and others to explore the religions and cultures of the East. A former heroin addict, the tenor saxophone icon proved that it was possible to kick the drug habit at a time in the 1950s when thousands of fellow musicians abused heroin and other narcotics. His success is testimony to his strength of character and powerful spirituality, the latter of which helped him overcome what musicians called “the stick” (heroin). Sonny may be the most popular jazz pioneer who is still alive after nearly seven decades of playing bebop, hard bop, and other styles of jazz with the likes of other stalwart trailblazers such as Thelonious Monk, Dizzy Gillespie, Bud Powell, Clifford Brown, Max Roach, and Miles Davis. He follows a tradition begun by Louis Armstrong, Duke Ellington, and Charlie Parker. Eight months after overcoming his habit at a drug rehabilitation facility called “the farm” in Lexington, Kentucky, Sonny made what the jazz cognoscenti rightly contend is his greatest recording ever—ironically entitled “Saxophone Colossus”—which was recorded on June 22, 1956. -
Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach. -
Finding Aid to the Historymakers ® Video Oral History with Sonny Rollins
Finding Aid to The HistoryMakers ® Video Oral History with Sonny Rollins Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Rollins, Sonny Title: The HistoryMakers® Video Oral History Interview with Sonny Rollins, Dates: December 3, 2016 Bulk Dates: 2016 Physical 8 uncompressed MOV digital video files (3:30:19). Description: Abstract: Jazz composer and saxophonist Sonny Rollins (1930 - ) composed the jazz standards “Oleo,” “Airegin,” and “Doxy,” and released over sixty albums in his name, including Saxophone Colossus (1956) and Freedom Suite (1958). Rollins was interviewed by The HistoryMakers® on December 3, 2016, in Woodstock, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_113 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Jazz composer and saxophonist Sonny Rollins was born on September 7, 1930 in New York City. His parents, immigrants from the U.S. Virgin Islands, raised him in Manhattan’s central Harlem and Sugar Hill neighborhoods. Rollins received his first alto saxophone at seven years old; and was heavily influenced by saxophonist Charlie Parker by the time he enrolled at Edward W. Stitt Junior High School. Rollins switched to tenor saxophone, and was mentored by pianist Thelonious Monk. Upon graduating from high school, Rollins made his first recordings with Babs Gonzales, J.J. Johnson, Bud Powell, and Fats Navarro. He went on to record with such jazz legends as Miles Davis, the Modern Jazz Quartet, Charlie Parker and Thelonious Monk. In 1954, Rollins’ compositions “Oleo,” “Airegin,” and “Doxy” were featured on Miles Davis’ Bags' Groove. -
Conscience and At-Will Employment
Articles FIRING THOREAU: CONSCIENCE AND AT-WILL EMPLOYMENT James A. Sonne* It is a virtual axiom of the American workplace that, absent a contract or express law to the contrary, "an employer may terminate an employee at any time, for any reason or no reason at all."' Indeed, this presumption of "at-will" employment, which prevails in forty-nine states and the District of Columbia,' has been the law of the land for more than a century. Rooted in freedom of contract and private property principles, the rule is designed to yield efficiencies across a broad range of industries. Despite the prominence of at-will power, however, a growing (and potentially contradictory) trend in employment law, particularly in the health care field, is that employees should be protected in the exercise of their consciences-even if such exercise is contrary to their employers' wishes or the demands of their jobs.' This "conscience clause" movement is * Associate Professor, Ave Maria School of Law. B.A., Duke University; J.D., Harvard Law School. The author thanks George Remy and Jeffrey Melville for their research; Professors Richard Myers, Lynn Wardle, and Robert Vischer for their insights; Mary and Margaret Grace Sonne for their encouragement; and Ave Maria for its support. 1. Cynthia L. Estlund, Labor, Property, and Sovereignty After Lechmere, 46 STAN. L. REV. 305, 312 (1994). 2. See PETER 0. HUGHES, LABOR AND EMPLOYMENT LAW (MB) § 259.02 n.5 (2006) (observing "[e]mployment is presumed to be at will in ...every state" except Montana). For the District of Columbia, see Dantley v. -
Contract Law Through the Lens of Laissez-Faire Richard A
University of Chicago Law School Chicago Unbound Coase-Sandor Working Paper Series in Law and Coase-Sandor Institute for Law and Economics Economics 1997 Contracts Small and Contract Large: Contract Law Through the Lens of Laissez-Faire Richard A. Epstein Follow this and additional works at: https://chicagounbound.uchicago.edu/law_and_economics Part of the Law Commons Recommended Citation Richard A. Epstein, "Contracts Small and Contract Large: Contract Law Through the Lens of Laissez-Faire" (Coase-Sandor Institute for Law & Economics Working Paper No. 49, 1997). This Working Paper is brought to you for free and open access by the Coase-Sandor Institute for Law and Economics at Chicago Unbound. It has been accepted for inclusion in Coase-Sandor Working Paper Series in Law and Economics by an authorized administrator of Chicago Unbound. For more information, please contact [email protected]. Contracts Small and Contract Large: Contract Law Through the Lens of Laissez-Faire by Richard A. Epstein* Introduction: A Fallen Theory? Laissez-faire capitalism, and its associated doctrine of freedom of contract, had many stalwart defenders during the nineteenth century. But it has received a rocky reception from many legal and philosophical commentators in the twentieth century. Freedom of contract often been pronounced "dead on arrival" as an organizing principle for complex contemporary societies. That principle has been said to be insensitive to differences in wealth, status, position and power that make the exercise of contractual choice a myth for the weak and dispossessed. Within the legal literature, it has been attacked as ignoring the large concentrations of wealth that distort market processes and that trample down the rights of consumers and workers.