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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. -
Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not -
Boom Boom Boom Boom by Steven Gowin
Boom Boom Boom Boom by Steven Gowin “You only just watch them damned cowboy shows and drink that cheap beer,” Lydia crabbed at Little Jessie. “Whyn't ya get out and do sumpin'? See a show that ain't Rawhide. Make a friend; don't be a worm no more.” Little Jessie'd spent 30 years taking orders in the Canal Zone with only brief visits home. He'd seen a fellow gamble away his life's savings, survived a near fatal explosion, and witnessed a man crushed and drowned in the Miraflores locks. “You like guitar?” Lydia badgered Jessie, when all he really wanted was a cold PBR, Gunsmoke, and some peace. “I said, guitar what you like?” Jessie nodded and said, “Sure enough, and squeeze box and saxophone, why?” “Why??? Why is cause I ain't standin' another night of you and them cowboys.” Lydia was one of those ladies who wears a big hat to church on Sunday, every Sunday. She said, “I know you know I'm right.” Jessie didn't care about right. He only cared about meanness and bossing and lack thereof. But Lydia was worse and worse. He couldn't do anything, say anything, without her telling him what was wrong with him. The next evening, holding the ticket Lydia'd bought him in hand, Jessie rode the 22 Fillmore across town to where the marquee flashed, John Lee's Boom BOOM R O O M ! ! ! The red and blue neon cheered Jessie, he admitted, and he liked the folks headed in wearing furs and finery and jewels. -
Rock and Roll Rockandrollismyaddiction.Wordpress.Com
The Band, Ten Years After , Keef Hartley Band , Doris Troy, John Lennon ,George Harrison, Leslie West, Grant Green, Eagles, Paul Pena, Bruce Springsteen, Peter Green, Rory Gallagher, Stephen Stills, KGB, Fenton Robinson, Jesse “Ed” Davis, Chicken Shack, Alan Haynes,Stone The Crows, Buffalo Springfield, Jimmy Johnson Band, The Outlaws, Jerry Lee Lewis, The Byrds , Willie Dixon, Free, Herbie Mann, Grateful Dead, Buddy Guy & Junior Wells, Colosseum, Bo Diddley, Taste Iron Butterfly, Buddy Miles, Nirvana, Grand Funk Railroad, Jimi Hendrix, The Allman Brothers, Delaney & Bonnie & Friends Rolling Stones , Pink Floyd, J.J. Cale, Doors, Jefferson Airplane, Humble Pie, Otis Spann Freddie King, Mike Fleetwood Mac, Aretha Bloomfield, Al Kooper Franklin , ZZ Top, Steve Stills, Johnny Cash The Charlie Daniels Band Wilson Pickett, Scorpions Black Sabbath, Iron Butterfly, Buddy Bachman-Turner Overdrive Miles, Nirvana, Son Seals, Jeff Beck, Eric Clapton John Mayall, Neil Young Cream, Elliott Murphy, Años Creedence Clearwater Bob Dylan Thin Lizzy Albert King 2 Deep Purple B.B. King Años Blodwyn Pig The Faces De Rock And Roll rockandrollismyaddiction.wordpress.com 1 2012 - 2013 Cuando decidimos dedicar varios meses de nuestras vidas a escribir este segundo libro recopilatorio de más de 100 páginas, en realidad no pensamos que tendríamos que dar las gracias a tantas personas. En primer lugar, es de justicia que agradezcamos a toda la gente que sigue nuestro blog, la paciencia que han tenido con nosotros a lo largo de estos dos años. En segundo lugar, agradecer a todos los que en determinados momentos nos han criticado, ya que de ellas se aprende. Quizás, en ocasiones pecamos de pasión desmedida por un arte al que llaman rock and roll. -
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. -
Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel
Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection. -
Russell Gulley Alabama Touring Artist Program
Alabama Touring Artist Program Study Guide Russell Gulley Intro: FROM TRADITIONAL MUSIC TO AMERICAN POP 265-845-0203 [email protected] Artistic Genre: Music Performing Artist: Russell Gulley 1 Alabama Touring Artist Program Study Guide presented by Alabama State Council on the Arts 201 Monroe Street, Suite 110; Montgomery, AL 36130-1800 334-242-4076 Ext. 241 Alabama Touring Artist Program presented by the Alabama State Council on the Arts This Study Guide has been prepared for you by the Alabama State Council on the Arts in collaboration with the performing artist. All vocabulary that is arts related is taken directly from the Alabama Course of Study, Arts Education. With an understanding that each teacher is limited to the amount of time that may be delegated to new ideas and subjects, this guide is both brief and designed in a way that we hope supports your school curriculum. We welcome feedback and questions, and will offer additional consulting on possible curriculum connections and unit designs should you desire this support. Please feel free to request further assistance and offer your questions and feedback. Hearing from educators helps to improve our programs for other schools and educators in the future. Please Contact: Diana F. Green, Arts in Education Program Manager at: 334/242-4076 Ext. 241 [email protected] Set up: Artists typically arrive 60 minutes before their scheduled performance in order to set up. Please have the space available to the artist as soon as she arrives. All artists will need some kind of setup prior to arrival. -
Mcgill B Questions By: Annabel Levine, Zach Margolis, Rachael Hardies, Mark Stern
2010 Hybrid Tournament: McGill B Questions by: Annabel Levine, Zach Margolis, Rachael Hardies, Mark Stern Tossups 1. An early queen of this modern-day nation, Anula, had five of her husbands, who all briefly held the throne at some point, murdered before she took the throne for herself in 47 BCE. Elara is titled as the “Just King” in this nation, despite coming from a minority group that invaded 205 BCE, while (*) Devanampiya was the first king to convert to Buddhism after embracing the faith from the missionary Mahinda. The ethnic majority returned to the throne in 463 CE after a rebellion led by Dhatusena against the Six Dravidians, and his son Kashyapa created the fortress of Sigiriya atop a massive rock that surrounds a plain. Invaded several times by the Chola and retaken by the Sinhala, for 10 points, name this modern-day nation whose kingdoms of Kandy and Jaffna fell in the late 18th century to a British rule headquartered at Colombo. ANSWER: Sri Lanka 2. He was thrown out of Harvard, Yale, Princeton, Cornell, and Switzerland, and he talks about the people as though he owned them, as though they belonged to him. He speaks out against “the downright villainy of Boss Jim W. Gettys' (*) political machine,” but Gettys gets elected after he exposes this man's “love nest.” This man finishes Jed Leland's negative review of Susan Alexander's opera debut, and a musical tribute to him insists that he be addressed as “Charlie.” He drops a snow globe right before dying, and he collects huge piles of European statues for his Xanadu estate. -
The Twist”—Chubby Checker (1960) Added to the National Registry: 2012 Essay by Jim Dawson (Guest Post)*
“The Twist”—Chubby Checker (1960) Added to the National Registry: 2012 Essay by Jim Dawson (guest post)* Chubby Checker Chubby Checker’s “The Twist” has the distinction of being the only non-seasonal American recording that reached the top of “Billboard’s” pop charts twice, separately. (Bing Crosby’s “White Christmas” topped the holiday tree in 1942, 1945, and 1947). “The Twist” shot to No. 1 in 1960, fell completely off the charts, then returned over a year later like a brand new single and did it all over again. Even more remarkable was that Checker’s version was a nearly note-for- note, commissioned mimicry of the original “The Twist,” written and recorded in 1958 by R&B artist Hank Ballard and released as the B-side of a love ballad. Most remarkable of all, however, is that Chubby Checker set the whole world Twisting, from Harlem clubs to the White House to Buckingham Palace, and beyond. The Twist’s movements were so rudimentary that almost everyone, regardless of their level of coordination, could maneuver through it, usually without injuring or embarrassing themselves. Like so many rhythm and blues songs, “The Twist” had a busy pedigree going back decades. In 1912, black songwriter Perry Bradford wrote “Messin’ Around,” in which he gave instructions to a new dance called the Mess Around: “Put your hands on your hips and bend your back; stand in one spot nice and tight; and twist around with all your might.” The following year, black tunesmiths Chris Smith and Jim Burris wrote “Ballin’ the Jack” for “The Darktown Follies of 1913” at Harlem’s Lafayette Theatre, in which they elaborated on the Mess Around by telling dancers, “Twist around and twist around with all your might.” The song started a Ballin’ the Jack craze that, like nearly every new Harlem dance, moved downtown to the white ballrooms and then shimmied and shook across the country. -
Aint Gonna Study War No More / Down by the Riverside
The Danish Peace Academy 1 Holger Terp: Aint gonna study war no more Ain't gonna study war no more By Holger Terp American gospel, workers- and peace song. Author: Text: Unknown, after 1917. Music: John J. Nolan 1902. Alternative titles: “Ain' go'n' to study war no mo'”, “Ain't gonna grieve my Lord no more”, “Ain't Gwine to Study War No More”, “Down by de Ribberside”, “Down by the River”, “Down by the Riverside”, “Going to Pull My War-Clothes” and “Study war no more” A very old spiritual that was originally known as Study War No More. It started out as a song associated with the slaves’ struggle for freedom, but after the American Civil War (1861-65) it became a very high-spirited peace song for people who were fed up with fighting.1 And the folk singer Pete Seeger notes on the record “Waist Deep in the Big Muddy and Other Love Songs”, that: "'Down by the Riverside' is, of course, one of the oldest of the Negro spirituals, coming out of the South in the years following the Civil War."2 But is the song as we know it today really as old as it is claimed without any sources? The earliest printed version of “Ain't gonna study war no more” is from 1918; while the notes to the song were published in 1902 as music to a love song by John J. Nolan.3 1 http://myweb.tiscali.co.uk/grovemusic/spirituals,_hymns,_gospel_songs.htm 2 Thanks to Ulf Sandberg, Sweden, for the Pete Seeger quote. -
Wavelength (March 1981)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 3-1981 Wavelength (March 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (March 1981) 5 https://scholarworks.uno.edu/wavelength/5 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. NEW ORLEANS POPS PRESENTS *starring * CHARLIE DANIELS KANSAS BAND MOLLY DELBERT HATCHET McCLINTON HANK WILLIAMS, JR. PLUS "THE CELEBRITY PARADE" UNDAY with KING "BUM" PHILLIPS MARCH 1 (Parade rolls at 8 p.m.) 5 P.M. - DOORS OPEN 4 P.M. MIDNIGHT TICKETS ARE $12 (Limited Advance) AND $15 On sale now at all ticketmaster outlets; D.H. Holmes, Louisiana Superdome, Warehouse Records (Gretna, Metairie, Kenner), the Mushroom & Leisure Landing. FOR MORE INFORMATION CALL (504) 821-3795 Features ErnkK-Doe _______________________________,6 The Percolators 10 •JAZZ• The Black Pope 12 New Orleans Songwriters 14 •BLUES• Walter Lastie 19 •CAJUN• Departments A/arch _____________________________________ RECORDSBOOKSTAPES JazZ ------------------------------------~ Rare Records -----------------------------~ Revkws ____________________ ~ Last Page ~~~· , ~) 132 CARONDELET Cover photo by Syndey Byrd '· ~ N.O ., LA. 70130 (504) 522-2363 Publisher, Patrick Borry. Editor, Connie Atkinson. Contract Advertlslna Sales, Steve Gifford, Lyle Matthews. Coatributin& Artists, Skip Bolen, Bunny Mauhews, Julia Nead, Kathleen Perry. Distribution, Laverne Kelly, Star Irvine. Contributors, 1 Carlos Boll, Jerry Brock, Bill Cat, Yorke Corbin, Ron Cuccia, Steve CUnningham, Zeke Fishhead, Steve Graves, Gilbert Catalogue Available Hetherwick, Coril Joseph, Andy Kaslow, Tim Lyman, Bunny Matthews, Hammond Scou, Jim Scheurich, Almost Slim, Rhodes 1 Spedale, Keith Twichell. -
Why Am I Doing This?
LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS .....................................................................................................................................