Partnership

Use the IRAC method to analyze the scenarios:

Chapter 40 exercises #2 – 7

Chapter 41 exercises #5-8

https://resources.saylor.org/wwwresources/archived/site/textbooks/Business%20Law%20and%20the%20Legal%20Environment.pdf

put this one in its own separate page QUESTION NO. 1 (25 pts.)

You are a performing Artist who has been arrested and is now on trial in an American Court for violating government-imposed censorship laws.

Using this A) B) format as separated paragraphs (-10 pts. not using A) B) format):

Write a paragraph TO THE JURY describing and summarizing your actions and why you feel you were arrested   (5 pts.)

B.  Write a paragraph defense TO THE JURY stating WHY you feel your conviction should be overturned and you should be found innocent,

using at least two (2) references of  composers / musicians covered IN LECTURES FROM THIS SEMESTER in your defense.

You must provide historical instances and examples describing how these two (2) composer / musicians (IN LECTURES FROM THIS SEMESTER) were subjected to opposition, adversity, censorship, persecution, criticism, and/or political hardships during their lifetime, but in the 21st Century, are now admired, respected, praised, valued, and remembered for their musical output.  (10 pts. each musician).

Go to the MOD 9 COURSE OUTLINE FOLDER for a complete listing of this semester’s content;  this will help you choose appropriate composer/musicians to use in your defense.

QUESTION NO. 2   (25 pts.)

Recapping the content we covered this semester and using the same A) B) format (-10 pts. not using A) B) format):

On which ONE historical, social, or political event, time period, or incident, did MUSIC have the greatest impact and/or positive influence?  ….have the most positive impact and difference  Remember, MUSIC influenced the event / time period,  NOT the event influencing MUSIC.   (13 pts.)

Then…..

Give specific examples, covered this semester, of songs, composers, and/or forms of music during this same ONE historical event from question A) that were part of this positive influence.

(12 pts)

Go to the MOD 9 COURSE OUTLINE FOLDER for a complete listing of this semester’s content; this will help you choose appropriate events, time periods, and historical events.   Remember, this question focuses on MUSIC having the positive impact / influence on an events or period, not the event or period influencing Music.

Soul music, term adopted to describe black popular music in
the United States as it evolved from the 1950s to the ’60s and
’70s. Some view soul as merely a new term for rhythm and blues.
In fact a new generation of artists profoundly reinterpreted the
sounds of the rhythm-and-blues pioneers of the 1950s—Chuck
Berry, Little Richard, Bo Diddley, Sam Cooke, and Ray Charles—
whose music found popularity among whites and was transformed
into what became known as rock and roll.
If rock and roll, represented by performers such as Elvis Presley,
can be seen as a white reading of rhythm and blues, soul is a
return to black music’s roots—gospel and blues. The style is
marked by searing vocal intensity, use of church-rooted call-andresponse, and extravagant melisma. If in the 1950s Charles was
the first to secularize pure gospel songs, that transformation
realized its full flowering in the work of Aretha Franklin, the “Queen
of Soul,” who, after six years of notable work on Columbia
Records, began her glorious reign in 1967 with her first hits
for Atlantic Records—“I Never Loved a Man (the Way I Love You)”
and “Respect.” Before Franklin, though, soul music had exploded
largely through the work of Southern artists such as James
Brown and Southern-oriented labels such as Stax/Volt.
The Motown sound, which came of age in the 1960s, must also be
considered soul music. In addition to its lighter, more poporiented artists such as the Supremes, the Motown label produced
artists with genuine gospel grit -the Contours (“Do You Love Me”
[1962]), Marvin Gaye (“Can I Get a Witness” [1963]), and Stevie
Wonder (“Uptight [Everything’s Alright]” [1966]). But Motown
packaged its acts as clean-cut and acceptable, as it sought to sell
to white teens. As the civil rights movement gained steam, black
artists grew more politically aware. Rooted in personal
expression, their music resonateswith self-assertion, culminating
in Brown’s “Say It Loud -I’m Black and I’m Proud (Part 1)”
(1968).
In Memphis, Tennessee, Stax/Volt Records was built on an
unshakable foundation of straight-up soul. Singers such as Otis
Redding, Sam and Dave, and Isaac Hayes screamed, shouted,
begged, stomped, and cried, harkening back to the blues
shouters of the Deep South. Atlantic’s Jerry Wexler, who had
participated in the earliest phase of soul music with his
productions for Solomon Burke (“Just Out of Reach” [1961]),
began recording Franklin as well as Wilson Pickett, one of soul’s
premier vocalists, in Fame Studios in Florence, Alabama, where the
arrangements were largely spontaneous and surprisingly sparse strong horn lines supported by a rhythm section focused on
boiling funk.
Other artists and producers followed Wexler’s lead. Etta James,
with her earthshaking delivery and take-no-prisoners approach,
traveled to Muscle Shoals, Alabama, to record “Tell Mama” (1967),
one of the decade’s enduring soul anthems, written by singer and
songwriter Clarence Carter. Percy Sledge’s supersmooth “When a
Man Loves a Woman” (1966), recorded in nearby Sheffield,
became the first Southern soul song to reach number one on the
pop charts.
Soul was not restricted to the South and Detroit, Michigan. Curtis
Mayfield’s Impressions, prime movers of Chicago soul, added their
own sense of social consciousness to the soul music movement,
notably in “Keep On Pushing” (1964) and “People Get Ready”
(1965). By the decade’s end even Motown, the
most conservative of the soul labels, had begun to release issueoriented records, especially with Norman
Whitfield’s dynamic productions for the Temptations (“Cloud Nine”
[1968]) and Edwin Starr (“War” [1970]). Soul also flowered in New
Orleans, Louisiana, in the ultrafunky work of Art Neville’s group
the Meters. Atlantic Records produced smoldering soul smashes
in New York City – notably by Aretha Franklin and Donny
Hathaway; Wonder and the Jackson 5 created some of the era’s
great soul records in Los Angeles; and in Philadelphia, Kenny
Gamble and Leon Huff virtually reinvented the genre with the
O’Jays and Harold Melvin and the Blue Notes.
Soul became a permanent part of the grammar of American
popular culture. Its underlying virtues- direct emotional delivery,
ethnic pride, and respect for its own artistic sources – live on as
dynamic and dramatic influences on musicians throughout the
world. To varying degrees, the power and personality of
the form were absorbed in disco, funk, and hip-hop, styles that owe
their existence to soul.
Thanks to David Ritz, Contributing Author and Editor
Aretha Franklin was ranked as one of the greatest singers of her
time…an artist whose magnificent voice and unparalleled power
of expression made her a cultural icon. Franklin’s most popular
nickname was “The Queen”, a fitting title for a women who ruled
every stage on which she stood with absolute power. Franklin
defined the concept “diva”….the artist as a goddess who made
her audiences see and hear music through the prism of her
unshakable self-knowledge.
Franklin arrived on the music scene when she was in her teens, a
total original incapable of imitating anyone else. She settled into
stardom in her mid-20’s and stayed there for the next half
century, secure in the knowledge that she had no equals.
Nobody, before or since, could sing the way Aretha Franklin
did. When Franklin took on a song, she didn’t interpret it – she
reinvented it. Most of Franklin’s signature numbers date from
the beginning of her relationship with Atlantic Records, which
started in 1967, with her release of I Never Loved a Man the Way I
Love You. The tenth studio album for Franklin, who was not quite
25 years old when it was issued, included Franklin’s exhilarating,
career defining performance of Otis Redding’s Respect. With a
few lyric changes and her red-hot sense of her own self-worth,
Franklin turned Respect – a song written by a man, designed for a
man to sing – into an anthem of female self-empowerment.
Other leading soul singers, touch by Aretha’s genius and
influence, include Sam Cooke, Ray Charles, Marvin Gaye, Billie
Holiday, Solomon Burke, Otis Redding, and Etta James. They
are all with Aretha in a Heavenly Soul Choir!