Word: rader
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...writing in response to Carolyn Greaves and Allison Rader's letter of April 29, 1987, in defense not only of the Pitches, but also of the larger picture of female liberation and male-female relations embodied in the work and career of Annie Lennox of Eurythmics, who sings "Right By Your Side", the offending song. Although the Pitches clearly did not make a very strategic selection, Greaves and Rader deprive the lines they find offensive from any context in the song or Lennox's body of work as a whole, offering a distorted account of what this song means...
...picture of femininity Greaves and Rader offer up to us is, ironically, the very patriarchal male ideal they claim to reject--always strong, independent, needing no one. Greaves and Rader have bought the dominatnt culture's male ethic wholesale, asking for nothing more than a chance for women to become what men have always been told to be. In fact, true liberation for women and men will only be a reality when all of us realize that the whole, healthy human person is able to need and be needed without becoming either an oppressor or the forgotten and self-effeacing...
...solidarity and empowerment of women--such a song choice was inappropriate on its face. That may be right, and our difficulty in coming up with a more appropriate song only reflects the poverty of positive images of women in popular musical culture. In light of this, Greaves and Rader's implicit condemnation of Annie Lennox is particularly wrong-headed. Lennox may sing love songs that express emotions Greaves and Rader find unacceptable, but she also co-wrote and recorded, with Aretha Franklin, "Sisters Are Doin' It For Themselves", arguably the most straightforwardly feminist manistream pop song ever. In public appearances...
...ourselves--on our own initiative, with our own strength. We don't need to go running to someone else's arms and we don't need, as the Pitches' closing lullaby suggests, to go to sleep. We need to wake up--NOW. Carloyn Greaves '86-7 Alison Rader...
...Dotson Rader, who is seen embracing Williams on the back cover of Cry of the Heart, was a close companion in the playwright's declining years. Unlike Spoto, he evokes the winsome qualities of Williams' naughtiness and ructions, the merriment as well as the anguish of that time. Rader's reminiscences are if anything raunchier and more explicit than Williams' own, and without footnotes or explanation of sources, some of his anecdotes about the peccadilloes of the famous seem too bad to be true. Beguiling as gossip, Rader's book has none of the inclusiveness or gravamen of Spoto...