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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. -
MISSISSIPPI LEGISLATURE REGULAR SESSION 2001 By
MISSISSIPPI LEGISLATURE REGULAR SESSION 2001 By: Senator(s) Robertson, Johnson (19th), To: Rules Williamson, Hewes, Dawkins, Burton, Chamberlin SENATE RESOLUTION NO. 24 1 A RESOLUTION COMMENDING THE "3 DOORS DOWN" ROCK BAND FROM 2 ESCATAWPA, MISSISSIPPI. 3 WHEREAS, the Coast's "3 Doors Down," rock band which 4 originated in Escatawpa, Mississippi, and made the hit song, 5 "Kryptonite," was named favorite new artist in the pop category at 6 the American Music Awards; and 7 WHEREAS, when radio station WCPR in Biloxi, Mississippi, 8 started getting phone calls for a song by a band from nearby 9 Escatawpa, the staff figured it was hearing from the group’s 10 friends and relatives, but the song was "Kryptonite," and the 11 group was 3 Doors Down, a four-piece rock band whose beefy sound 12 and explosive dynamics generate a high-impact blend of modern 13 sonics and timeless rock conventions; and 14 WHEREAS, music has always been in the crosshairs for 15 singer-drummer Brad Arnold, bassist Todd Harrell and guitarists 16 Matt Roberts and Chris Henderson, longtime friends from Escatawpa, 17 each of whom felt the call early, particularly Arnold, who, as a 18 child, would "set up pots and pans when I was little, just beat on 19 stuff, whatever I could find." 20 WHEREAS, having older siblings, four sisters and two 21 brothers, gave the fledging, utensil-banging drummer and his 22 friends a valuable musical grounding; through his brothers and 23 sister, he developed a taste for commercial rock before graduating 24 to heavier fare. -
San Fernando Valley Burbank, Burbank Sunrise, Calabasas
Owens Valley Bishop, Bishop Sunrise, Mammoth Lakes, Antelope Valley and Mammoth Lakes Sunrise Antelope Valley Sunrise, Lancaster, Lancaster Sunrise, Lancaster West, Palmdale, Santa Clarita Valley and Rosamond Santa Clarita Sunrise and Santa Clarita Valley San Fernando Valley Burbank, Burbank Sunrise, Calabasas, Crescenta Canada, Glendale, Glendale Sunrise, Granada Hills, Mid San Fernando Valley, North East Los Angeles, North San Fernando Valley, North Hollywood, Northridge/Chatsworth, Sherman Oaks Sunset, Studio City/Sherman Oaks, Sun Valley, Sunland Tujunga, Tarzana/Encino, Universal City Sunrise, Van Nuys, West San Fernando Valley and Woodland Hills History of District 5260 Most of us know the early story of Rotary, founded by Paul P. Harris in Chicago Illinois on Feb. 23, 1905. The first meeting was held in Room 711 of the Unity Building. Four prospective members attended that first meeting. From there Rotary spread immediately to San Francisco California, and on November 12, 1908 Club # 2 was chartered. From San Francisco, Homer Woods, the founding President, went on to start clubs in Oakland and in 1909 traveled to southern California and founded the Rotary Club of Los Angeles (LA 5) In 1914, at a fellowship meeting of 6 western Rotary Clubs H. J. Brunnier, Presi- dent of the Rotary Club of San Francisco, awoke in the middle of the night with the concept of Rotary Districts. He summoned a porter to bring him a railroad sched- ule of the United States, which also included a map of the USA, and proceeded to map the location of the 100 Rotary clubs that existed at that time and organized them into 13 districts. -
The Wire: Adventures in Modern Music: Article
Search all articles Search These Beats Work Issue #178 (Dec 98) | Interviews By: Sasha Frere-Jones | Featuring: Timbaland Interviews Printable version Reviews Defying the wisdom that HipHop innovation equals ugliness, Timbaland's euphoric Essays productions prove that experimental music doesn't have to wear a hairshirt Charts Epiphanies It's raining furiously the night I visit Manhattan Center Studios for an audience with Editor's Letters R&B/HipHop producer Tim Mosley, 26, aka Timbaland. The scene inside hardly Limited Edition T-Shirts resembles your usual HipHop session. There are plenty of young men milling The Wire 300 around but there's no blunt smoke, and everyone's dressed in clothes their The Wire 25 mothers would approve of. Timbaland's brother greets me warmly and passes me a soda, reaching over the head of someone getting a haircut from a man armed Article from issue: with electric clippers. No one has cursed and I've been in the room almost ten minutes. We might be in New York, but Timbaland's "Dirty South", as he calls it, is the spiritual galaxy we presently occupy. For the duration of his sessions, Manhattan Center is transformed into an outpost of straight-up Southern black culture manned by folks who grew up doing equal time in church pews and jeeps pumping Tupac. After all, Virginia, Timbaland's home state, is right on top of DC go-go and just a car ride away from both New York's grimy HipHop and Miami's aluminium, hydraulic Bass Music. At this aesthetic and geographical crossroads, Timbaland has recreated several View contents of issue #178? musics at once with beats as stark as X-rays. -
3 Doors Down and Collective Soul to Co-Headline Tour with Special Guest Soul Asylum
ALL ABOARD THE ROCK & ROLL EXPRESS! 3 DOORS DOWN AND COLLECTIVE SOUL TO CO-HEADLINE TOUR WITH SPECIAL GUEST SOUL ASYLUM – Tickets On Sale to the General Public Starting March 30 at LiveNation.com – – Watch Tour Announcement Video HERE – LOS ANGELES, CA (March 26, 2018) – With more than 30 million albums sold, 18 million digital single sales, billions of streams and 12 iconic hits combined, 3 Doors Down and Collective Soul are inviting fans aboard The Rock & Roll Express Tour this summer with special guest Soul Asylum on select dates. Produced by Live Nation, the amphitheater outing will kick off July 6 in Atlanta, GA and travel to 36 cities across North America before wrapping September 16 in Phoenix, AZ. View and embed the tour announcement video at the link here: https://youtu.be/1Ina5pP8Fpo Citi® is the official pre-sale credit card of The Rock & Roll Express Tour. As such, Citi® cardmembers will have access to purchase pre-sale tickets beginning Tuesday, March 27th at 10am local time until Thursday, March 29th at 10pm local time through Citi’s Private Pass® program. For complete pre-sale details, visit www.citiprivatepass.com. Tickets go on sale to the general public starting Friday, March 30 at 10am local time. 3 Doors Down and Collective Soul will be offering their own VIP packages, which include band meet and greets, exclusive merch, and much more. All VIP packages will be available starting Tuesday, March 27th at 10am local time. More information can be found at www.3doorsdown.com and www.collectivesoul.com. “Soul Asylum, Collective Soul and 3 Doors Down, that’s a big night of hits!! I’m looking forward to hopping on the Rock & Roll Express this summer, gonna be fun!” said Brad Arnold of 3 Doors Down. -
Tommy Schools Resource Pack
Schools Resource Pack 2017 Contents Page 2……………………….Ramps on the Moon Page 3……………………….Cast and Creative Team Page 4-6.……………….….Tommy Plot synopsis Page 7-8…………………….Meeting the Creatives: Kerry Michael, Director Page 9-12………………….Meeting the Creatives: Inside the Rehearsal Room Page 13……………………..Exploring Tommy Page 14……………………. Game 1: Bomb & Shield Page 15……………………. Game 2: Exaggerate the Action Page 16-17………………. Activity 1: Character Insight Page 18……………………..Activity 2: Yippee! Page 19……………………. Activity 3: Who Is Driving Your Car? Page 20-21………………. Activity 4: Journeys Page 22……………………. Activity 5: Theatre Making Page 23……………………. Embedding Accessibility Page 24-26………………..Workshop Activities with Jamie Beddard Page 27……………………..Do You Want to Work in the Arts? Page 28-29……………….. How Did You Get To Where You Are Now? Page 30-31……………….. Creative Assistant Biographies Page 32-34…………………Social Model of Disability Page 35………………………Media & Resources Page 36………………………Fingerspelling Alphabet This pack is intended to support your student’s experience of Tommy, as well as to explore integrated and accessible theatre, employment opportunities and routes into the theatre industry. Many of the exercises in this pack are suitable for groups who have not seen the production. Sian Thomas Creative Learning Producer New Wolsey Theatre, Ipswich E: [email protected] T: 01473 295930 Rehearsal photos by Patrick Baldwin & Richard Davenport, Production photos by Mike Kwasniak 1 Ramps on the Moon Ramps on the Moon is a ground breaking touring project that sets out to put more D/deaf and disabled people on our stages, in our audiences and in our workforce. Integrating disabled and non- disabled performers and practitioners, the programme aims to achieve a step change in the employment and artistic opportunities for disabled performers and creative teams , and a cultural change in the participating organisations to enable accessibility to become a central part of their thinking and aesthetics. -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
THE BEST in CLASSIC ROCK and ROLL Lancaster’S Premier Classic Rock Band
THE BEST IN CLASSIC ROCK and ROLL Lancaster’s premier classic rock band Booking Information Contact Kim Garner Phone: 717-421-2626 EMail: [email protected] www.offourrockers.org “Like” us on Facebook at www.facebook.com/lancasterrockers About Off Our Rockers Off Our Rockers is a group of musicians who on average have over thirty years of professional experience. We all share a love for classic 60’s and 70’s music and have deep roots in the Delaware, New Jersey and Pennsylvania music scene. Music Style: 60’s, 70’s and 80’s Rock / British Invasion (Our specialty) Musical Influences: Jeff Beck, Joe Perry, Ritchie Blackmore, The Beatles, Grand Funk Railroad, Steve Howe, Led Zeppelin, John Fogerty, Cream, Joe Bonamassa, ZZ Top Members: Derek Weaver: Guitar , Dave Mutzabaugh : Drums , Jeff Barninger : Guita r, Buddy Tomko Bass , Kim Garner: Vocals , Iggy Taylor: Keyboards. Albums / CD’s: Iggy Taylor: Best of Bad Betsy, Bad Betsy Again?, Media, Alter Ego, Schtuff, All Alone, Ataraxis Off our Rockers is also available for corporate or private events and concert type venues. A Few Songs covered by: Off Our Rockers Day Tripper The Beatles From Me to You The Beatles I Am the Walrus The Beatles Slow Down The Beatles I Saw Her Standing There The Beatles Hey Bulldog The Beatles She Loves You The Beatles Black Velvet Alannah Myles Born on Bayou CCR Born to be Wild Stepenwolf Cheap Sunglasses ZZ Top Crossfire Stevie Ray Vaughan Fire Woman The Cult Free Ride Edgar Winter Green River CCR Give Me One Reason Tracy Chapman Good Girls Don't The Knack -
Rhythms of Relation: Black Popular Music and Mobile Technologies
Rhythms of Relation: Black Popular Music and Mobile Technologies Alexander G. Weheliye In this essay I focus on the singular performances of the interface between (black) subjectivity and informational technologies in popular music, ask- ing how these performances impact current definitions of the technologi- cal. After a brief examination of those aspects of mobile technologies that gesture beyond disembodied communication, I turn to the multifarious manifestations of techno-informational gadgets (especially cellular/mobile telephones) in contemporary R&B, a genre that is acutely concerned, both in content and form, with the conjuring of interiority, emotion, and affect. The genre’s emphasis on these aspects provides an occasion to analyze how technology thoroughly permeates spheres that are thought to represent the hallmarks of humanist hallucinations of humanity. I outline the extensive and intensive interdependence of contemporary (black) popular music and mobile technologies in order to ascertain how these sonic formations refract communication and embodiment and ask how this impacts rul- ing definitions of the technological. The first group of musical examples surveyed consists of recordings released between 1999 and 2001; the sec- ond set are recordings from years 2009–2010. Since ten years is almost an eternity in the constantly changing universes of popular music and mobile technologies, analyzing the sonic archives from two different historical moments allows me to stress the general co-dependence of mobiles and music without silencing the breaks that separate these “epochs.” Finally, I gloss a visual example that stages overlooked dimensions of mobile tech- nologies so as to amplify the rhythmic flow between the scopic and the sonic. -
'69 Bryan Adams 2 New Orleans Is Sinking the Tragically Hip 3 Life Is
1 Summer of '69 Bryan Adams 2 New Orleans Is Sinking The Tragically Hip 3 Life Is A Highway Tom Cochrane 4 Takin' Care of Business Bachman Turner Overdrive 5 Tom Sawyer Rush 6 Working For The Weekend Loverboy 7 American Woman The Guess Who 8 Bobcaygeon The Tragically Hip 9 Roll On Down the Highway Bachman Turner Overdrive 10 Heart Of Gold Neil Young 11 Rock and Roll Duty Kim Mitchell 12 38 Years Old The Tragically Hip 13 New World Man Rush 14 Wheat Kings The Tragically Hip 15 The Weight The Band 16 These Eyes The Guess Who 17 Everything I Do (I Do IT For You) Bryan Adams 18 Born To Be Wild Steppenwolf 19 Run To You Bryan Adams 20 Tonight is a Wonderful Time to Fall in Love April Wine 21 Turn Me Loose Loverboy 22 Rock You Helix 23 We're Here For A Good Time Trooper 24 Ahead By A Century The Tragically Hip 25 Go For Soda Kim Mitchell 26 Whatcha gonna Do (When I'm Gone) Chilliwack 27 Closer To The Heart Rush 28 Sweet City Woman The Stampeders 29 Chicks ‘N Cars (And the Third World War) Colin James 30 Rockin' In The Free World Neil Young 31 Black Velvet Alannah Myles 32 Heaven Bryan Adams 33 Feel it Again Honeymoon Suite 34 You Could Have Been A Lady April Wine 35 Gimme Good Lovin' Helix 36 The Spirit Of Radio Rush 37 Sundown Gordon Lightfoot 38 This Beat Goes on/ Switchin' To Glide The Kings 39 Sunny Days Lighthouse 40 Courage The Tragically Hip 41 At the Hundreth Meridian The Tragically Hip 42 The Kid Is Hot Tonite Loverboy 43 Life is a Carnival The Band 44 Don't It Make You Feel The Headpins 45 Eyes Of A Stranger Payolas 46 Big League -
Metaphors of Love in 1946–2016 Billboard Year-End Number-One Songs
Text&Talk 2021; 41(4): 469–491 Salvador Climent* and Marta Coll-Florit All you need is love: metaphors of love in 1946–2016 Billboard year-end number-one songs https://doi.org/10.1515/text-2019-0209 Received June 25, 2019; accepted September 19, 2020; published online October 26, 2020 Abstract: This study examines the use of metaphors, metonymies and meta- phorical similes for love in a corpus of 52 year-end number one hit songs in the USA from 1946 to 2016 according to Billboard charts. The analysis is performed within the framework of Conceptual Metaphor Theory and from quantitative and quali- tative perspectives. Our findings indicate that the theme of romantic love is prevalent in US mainstream pop music over the course of seven decades but shows evolutionary features. Metaphors of love evolve from conventional to novel with a notable increase in both heartbreak and erotic metaphors. Remarkably, the study finds that the two predominant conceptualizations of love in pop songs – which in a significant number of cases overlap – are the following: experiential, originating in the physical proximity of the lovers, and cultural, reflecting possession by one lover and showing a non-egalitarian type of love. Keywords: Conceptual Metaphor Theory; corpus linguistics; metaphor; pop music; romantic love 1 Introduction The central theme of a large number of pop songs is some facet of romantic love. Starr and Waterman (2003: 105–110, 199–200) noted this to be already the case in the Tin Pan Alley era in the USA of the 1920s and 1930s and the trend continued through the 1940s and 1950s, when the entertainment industry grew exponen- tially: “total annual record sales in the United States rose from $191 million in 1951 to $514 million in 1959” (Starr and Waterman 2003: 252). -
Karaoke Mietsystem Songlist
Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.