"We Shall Go Forth": A Musical Analysis of the Women's Music Movement, 1969-1985

In the wake of the social and political movements that defined the 1960s, the women’s music movement emerged as a means to cultivate an outlet for young lesbian musicians who saw themselves as equal to their straight male counterparts, but were unwilling to compromise their musical integrity in order to perform on major labels. The movement became a social experience, as women’s music artists would tour coffee shops, college campuses, and feminist bookstores to perform their woman-identified woman music to all-female audiences. The concerts eventually grew into larger events, such as the National Women’s Music Festival and the Michigan Womyn’s Music Festival, which offered women of myriad backgrounds a safe space to gather as friends, family, and lovers. Within this cultural movement were musicians Margie Adam, Meg Christian, Alix Dobkin, Kay Gardner, Holly Near, Linda Tillery, Mary Watkins, and Cris Williamson. Together they created a soundtrack for lesbians throughout the 1970s. There was no unifying genre to the music produced during this movement. Some women were folk singer-songwriters, while others were classically trained musicians and composers. Their experiences were eclectic, and often encompassed other social and political causes of the decade. Many songs dealt with the topic of sexual identity. Some were anti-war anthems, while others explored non-western cultures and the medicinal power of music. It is because the music of this movement has not been analyzed in previous discussions of this topic that these pieces require attention. This dissertation surveys a selection of songs from each of the eight artists listed above during the period from 1969-1985. These pieces demonstrate the diverse output of this movement. They are also indicative of a variety of influences, which can be linked to mainstream popular artists and classical composers of the nineteenth and twentieth centuries

Ode to a Gym Teacher: The Music of the Women\u27s Music Movement

In the wake of the social and political movements that defined the 1960s, the women’s music movement emerged as a means to cultivate an outlet for young, lesbian musicians who saw themselves as equal to their straight, male counterparts, but were unwilling to compromise their musical integrity in order to perform on major labels. Within this cultural movement were musicians Margie Adam, Meg Christian, Alix Dobkin, Kay Gardner, Holly Near, Linda Tillery, Mary Watkins, and Cris Williamson. Together they created a soundtrack for lesbians throughout the 1970s. There was no unifying genre to the music produced during this movement. Some women were folk singer-songwriters, while others were classically trained musicians and composers. Their experiences were eclectic, and often encompassed other social and political causes of the decade. Many songs dealt with the topic of sexual identity. Some were anti-war anthems, while others explored non-western cultures and the medicinal power of music. In this presentation, I will explore the significant impact this music had on lesbian culture in the 1970s and 1980s through the lens of such pieces as “Ode to a Gym Teacher,” “We Shall Go Forth,” and “Don’t Pray for Me.

Putting the Brakes on Private Transfer Fee Covenants

This article will discuss private transfer fee covenants, using one popular model as an example. After explaining how a private transfer fee covenant operates, the article will review the background legal principles relevant to its enforceability As this article will argue, sound policy does not justify the enforcement of private transfer fee covenants. The article concludes with a discussion of recent state legislative efforts to invalidate private transfer fee covenants and highlights a new model statute that, if adopted, would declare such covenants void as contrary to public policy

Crystals, Mud, BAPCPA, and the Structure of Bankruptcy Decisionmaking

A critical feature of any legal system is its formal dispute resolution mechanism. From the perspective of a transactions lawyer, the dispute resolution process should be structured to accomplish (or at least contribute positively toward) doctrinal clarity

Are Security Deposits Security Interests ? The Proper Scope of Article 9 and Statutory Interpretation in Consumer Class Actions

Assume that Jane Doe leases an automobile from a General Motors dealer, pursuant to a lease contract under which Jane makes a cash security deposit. Under the lease, the lessor agrees to “refund” the deposit at the conclusion of the lease term in the event that Jane fully performs her obligations under the lease. Is this transaction governed by Article 9--i.e., has the lessor taken a “security interest” in Jane\u27s cash deposit to secure Jane\u27s obligations under the lease agreement

Does a Federal Tax Lien Take Priority over a Mortgagee\u27s Lien on Rents: Bloomfield State Bank v. United States

Few reported cases have addressed the relative priority rights of a mortgage lender and the IRS for rents from real estate. In Bloomfield State Bank v. United States, No. 10-3939, 2011 WL 1773953 (7th Cir. May 11, 2011), Judge Richard Posner provided the first reported federal appellate opinion; under its analysis, State Bank would have priority over the IRS in the above hypothetical for the rents due from both tenants. This article discusses Judge Posner\u27s opinion, both for its result (which the author believes is ultimately the correct result) and how it characterizes background principles of real estate finance law (as it turns out, not entirely correctly). Before getting to the opinion, however, this article begins with a brief primer on federal tax liens