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Snow Means 40% Upside for This Gas Stock
This week's major snowstorms have caused havoc across large swaths of the U.S., but the bad weather is good news for one gas company, and anybody buying the stock. Barron's Jack Hough joins MoneyBeat with a hot tip for a cold day. Photo: Getty Images.
This transcript has been automatically generated and may not be 100% accurate.
... and ... snow is coming down in Midtown Manhattan Richter QC Radio City music all there also ... major snowstorms costs have across large swaths of the U S over the weekend today ... but the bad weather is good news for one gas company ... and anybody buying that stock Barron's Jack Kallis here for the hot tip for a cold day on the RAC that's now we like to go home again from fire place and think about your stock profits all yes I it's hard to get any good ... natural gas prices that hit a six month high yesterday ... and inventories look ... fairly tight or another below the five-year average and house so we could be ... off the bottom in terms of natural gas prices ... aam and that helps off twenty six percent this to some ... sort of boiling gas that is really the lowest cost gas producer rounded has ... this sort of best of the best territory in Pennsylvania or the ... Marcellus shale write write outfield Fusion Africa as field that enter and as that gas mix of a larger portion of this is their cost of production has really been plunging right now ... ALM so when we got that the interim match gas prices are up twenty six percent this year ... topped four dollars twenty three cents ... yesterday ... and this is a company that in the Marcellus region their produce there it makes it to produce around ... eighty cents next year some free wine range ... on even to raise prices area but are ... really a proper bills production costs are expected to fall further there's new technology all the time ... of more than the things it's called pad drilling re basically take all well has a cost of them together and you just use one rig to hop from ... a well fed well had the future cost well now I know for natural gas prices said there is a tough time ... getting very low for a long time ... is that a problem is the price a problem for them at this point I think that ... having prices that low for that long has really chased away ... some of the higher cost production out there you've seen some companies scale back so ... it looks like the kind of an environment we could see better support for natural gas prices going forward I don't think they will necessarily rocket higher from here but ... in that they stay right around where they are now over the next several years ... kept coming that make ex love profits and a knack an environment where gala Wall Street forecasts for its profits than doubled this year ... and then triple again over the next few years ... back she could take a look at the price targets out there versus say share price the this is expected to be the biggest gainer in the Essen P five hundred the difference between the price target from our share price is the biggest many Stockman Amazon and Netflix up ... in all it was Walter's looking for a better than forty percent gain from God ... the selloff in its own optimistic because the production question because the pricing issue what makes them ... so much more optimistic than when the stock is I think the fact that those prices are coming off such a low base and you get comfy like this is a lot of leverage to these natural gas prices so when you when you see a rise to ... more normal levels of that effort you could see a rapid increase in profits ... Arike checkout good


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This might help clear some things up! When "Your All I Need To Get By" was Recorded, Tammi had just recovered from her first operation! 8 of the 10 disputed tracks or "Easy" were done in March of '69 around the same timeframe implied in the Ebony article! By that time, Tammi had had 6 operation with the last one taken place two months prior. According to the DFTMC,She and Marvin did several tracks with Bristol for the "Your All I Need" album in Jan. of '68 a month after the sessions for "It's Been A Long Time Happenin'"
So Tammi didn't record as often as she did when she was healthy, but she recorded when it was convenient for her to do so. It's not like she was completely bedridden the last two years of her life.
Johnny Bristol might be talking about the YOU'RE ALL I NEED album as opposed to EASY. The YOU'RE ALL I NEED sessions would have taken place in late '67, early '68. The liner notes even mention Tammi's illness. And even then, a lot of that album has Marvin singing to unreleased Tammi solo tracks.
But Bristol & Fuqua were out of the picture by the time the EASY album was recorded, or at least they have no productions on that album, aside from again, two songs where Marvin overdubbed his vocal onto Tammi solo recordings.
Last edited by reese; 12-11-2011 at 05:22 PM.
A woven masterpiece - that's what they say.
well, i have spent the last two days listening to the complete tammi solo and duet recordings along with both of valerie simpson's records. i don't have any trouble telling the two apart! i wish people here could separate emotion from intellect but seeing how many divide into the pro and anti diana ross camps based on everything but miss ross's singing, i have decided that the tammi/valerie battle will continue ... i suggest listening instead of spouting! (if you listen to everything it is very "easy" to tell who stepped into whose shoes and did a very good job at keeping tammi's legend alive.)
but while doing my studying i want to know how tammi's "can't stop now (love is calling)" was never released as a single?! what a hit!! it is constant rotation here in my house. what a great arrangement. i hear what i suppose are the andants? but, who are those great guys backing tammi up?
Last edited by thisoldheart; 12-12-2011 at 03:42 AM.
I've posted this before . Maybe it will help in the timeline.
http://books.google.com/books?id=ZFDqAUi7h-QC&pg=PA94&dq=Tammi+Terrell&hl=en#v=onepage&q=Tamm i%20Terrell&f=false
Wikipedia says the same, but everybody knows they sometimes (often?) may be wrong.
The Gracenote CD Database - as used by iTunes, Winamp etc - is compiled from data entered by the first fan who ever put the CD into their computer. This is the same database that used to claim the Pirates' "Mind Over Matter" from TCMS 2 was actually British rockers Johnny Kidd and the Pirates, rather than (say) the Temptations under a different name. It's often a useful tool, but it's about as authoritative as saying something must be true because you overheard it in a bar one time. So let's put that to one side.
I'm a lawyer, and it's an instinctive reaction, when faced with two sides to a story, to start weighing and evaluating the evidence. I was going to go through all of this on Motown Junkies when we get up to Easy, but this seems as good a time as any.
- Valerie Simpson - who has to be considered the Alpha and Omega of this question, given that (a) she's the only person left alive who was definitely there, and (b) in her version of the story she was with Tammi recording when nobody else was around, and therefore impossible to prove or disprove beyond what she says - has consistently and clearly denied subbing for Tammi, not only in the quote at the head of this thread (which I can't believe some people are taking as an admission?!):
There were a couple things that were tweaked, but not a lot. I couldn't just sing like Tammi. People give me the credit of thinking I could be Tammi Terrell, but it's just not true. We did some production edits to fix things, but that's about it.
...but also in the liner notes to TCMS 9:
I've heard that so many times, but it's not really true. To the extent that yes, when she was sick, I would stand in for her initially. But after we got Marvin's part down, we would painstakingly bring her in and do her in a different kind of way because, at that juncture, she really wasn't well. I've heard this all along, but I'm just not that good. I'm good, but I'm not that good.
...to the point that Valerie's story is easy (!) enough to summarise: she says she sang some guide vocals on the tracks, as Marvin needed, but later brought Tammi in to the studio to sing "line by line". (That, incidentally, is a description everyone who claims it was Tammi has used with surprising consistency.)
- Johnny Bristol and Louvain Demps both give accounts - albeit perhaps not necessarily first-hand accounts - which jibe with Val's version. Of course, they could just be following the party line, or remembering things other people said.
- Tammi's sister says she clearly recognises Tammi's voice on the disputed tracks. Loath as I am to dispute RossHolloway's ears, and without wanting to cause offence, if we're talking about the subjective quality of what other people say they can hear, I believe her claim carries more weight than Ross'.
- Quite frankly, and this is subjective, I don't hear the vast differences others have claimed. Sure, you play Easy right after United, the voices don't sound quite the same. But similarly, you play Easy right after Exposed, they don't really sound the same either. And I personally hear a lot of that Easy "Tammi" voice in some of Terrell's undisputed "throatier" vocals, e.g. Hold Me Oh My Darling. But as I say, it's all subjective. I certainly don't think it's as much of a night and day difference as some posters have made out.
- Marvin Gaye's direct testimony, as quoted in Divided Soul. Just as with Valerie above, this is the most important piece of evidence, and pretty damn difficult to overlook. A lot of court cases boil down to a "he said/she said" clash of stories, and so they hinge on the credibility of the witnesses and the way they give their testimony. I don't see why this should be so very different.
In this kind of analysis, any competent barrister would take Marvin's credibility and shatter it over his knee. Firstly, as has been pointed out upthread, Marvin not only made his claims ten years after the event, but ten rather eventful years - years full of personal triumph, turmoil, upheaval, and Olympic quantities of substance abuse. Easy to say he simply remembered wrong. Secondly, Marvin was also prone to giving interviews throughout the Seventies on any number of topics where he'd provide questionable information that's since been proven to be bollocks (usually well-meaning bollocks, but still bollocks all the same - does anyone have that interview where he claimed the forthcoming Trouble Man LP would change the history of music? Or, more pertinently, do people remember when he also said there was a lot more to the story of Tammi's death than the public knew, but it would all come out?) Thirdly, Marvin had no reason to lie, but even if Marvin was telling the absolute, perfectly-remembered, cast-iron crystal-clear truth, Valerie already has an answer for that: Marvin, according to her, was simply remembering the guide vocals Valerie laid down. He didn't remember Tammi being there because, according to her, Tammi indeed wasn't there, she was brought in later, so of course Marvin doesn't remember watching Tammi record The Onion Song. Impossible to prove either way. Which brings us to the fourth big problem with Marvin's testimony versus Valerie's: Marvin isn't around to ask further questions.
In the game of "she said / he said", Valerie makes a far more persuasive witness than Marvin.
- Tammi was really, really sick, such that it seems to stretch credibility she would head to the studio and sing. This is an interesting one, but as far as I understand it, and as far as the famous Ebony article linked upthread makes out, she had good days and bad days for the last three years of her life. By many accounts she at least visited Hitsville a few times in 1969 - and that Ebony article details her taking a long flight to get there - so it's not as though she was a bedridden invalid during the period the "Easy" vocal tracks were laid down. I've read she supposedly even appeared on stage in March 1969 at Seton Hall for a (brief) interlude at a James Brown show - I'd love to know more about that. (Is it in Ludie's book?)
- The woman singing on "Easy" sounds different. I've dealt with this above, but there's still no denying there's a difference in voices. But I don't understand why some people are so quick to deny Tammi could possibly have been well enough to go to Studio A in 1969 (despite first-hand accounts of her doing that) or even get up and move around (despite photographic evidence to the contrary accompanying that Ebony piece), because so many bouts of brain surgery would render that impossible, but then fail to accept that same logic to explain why someone's voice might sound a bit different.
- Nick Ashford's enigmatic "no comment" responses when directly asked. I've read that he supposedly admitted it was Valerie on those records all along, but I've never been able to actually pinpoint anything resembling such a quote - which would have been massive news, surely? Rather, he seems to have brushed off the question whenever it came up (bearing in mind this only really started happening in the mid-80s following the publication of Divided Soul). This seems to have been construed as an admission of guilt, but it's clearly no such thing - it's easy to impute *any* motivation to someone's keeping silent, but none of them count for anything in the eyes of the law.
- Valerie Simpson's testimony should be disregarded because she has a vested interest in keeping the lie going, in order to (protect Tammi's legacy / keep to a contractual agreement / make Motown look better / DELETE AS APPROPRIATE). This one I've never really got. Motown were never known for their scrupulous contractual dealings. Plenty of tell-all "warts and all" books about the company's dark secrets have emerged in the last 20 years. In the 80s, Motown was beseiged by lawsuits from disgruntled former artists, songwriters and producers. I don't understand why we're meant to believe that Motown screwed over almost everyone they ever came into contact with in one way or another, but that they stuck loyally to some shady deal they struck with Valerie to keep quiet forever, and that Valerie was happy to go along with it, even after moving to Warners and Capitol. (I certainly can't imagine the financial rewards from such a pact being enough to outweigh the royalties she'd be due for 40 years of airplay.) The only plausible reason she'd stick to a lie would be to protect Tammi, but I don't understand why that would be the case; nobody's denied the Andantes stood in for any number of other Motown acts, for instance, or continued to claim that it was really Martha Reeves and not Syreeta who sang on "I Can't Dance...". Why should Tammi have been treated any differently?
We'll never know for sure. I think the case for Tammi is much stronger than the case against, and ultimately if the only reliable source says it was Tammi, that's good enough for me. (Similarly if Val had come out and said "Yeah, it was me all along, sorry everyone", that would convince me too - presumably it would have been taken more seriously here...?) It's also tempting to go with Terry Wilson's theory, that Val recorded the guide tracks, Tammi came in to record a few lines here and there, and Motown went with the best take from either vocalist. But ultimately, when there's only one remaining credible first-hand witness and her story is impossible to disprove (or prove, short of some studio documentation and photographic evidence of Tammi recording the songs in question, and even then that wouldn't silence all doubts), there's absolutely no way for us to ever know for sure.
Besides my own ears, which even as a 13 year old I wondered why she sounded so different and strange (I remember thinking it was almost a Mae West impersonation, I found it so exaggerated), there are a few things not addressed in the above attorney's analysis. It's very difficult to believe that Tammi would have the stamina to record 10 new original recordings when even "You're All I Need" had to be put together with a great deal of Tammi solo recordings augmented by Marvin vocals to turn them into duets. That she could suddenly record a whole album with a little "tweaking" by Simpson...I just don't buy it, Counselor.
But as I've said repeatedly, it does nothing to diminish Valerie Simpson in my eyes. If anything, it elevates her further. I don't believe she's saying anything out of a contractual obligation. I believe it's to protect Tammi's legacy. Maybe I should shut up and do the same, but I have my ears to tell me it's just not the same girl.
Rebuttal: "Suddenly" is a stretch nobody's making - the accounts, if we're to believe them, use words like "painstaking", "line by line", "laborious"... it's not as if anyone's claiming she suddenly leapt up from her sickbed. (Not now, anyway - I don't know what the party line was in 1969.) "You're All I Need" made perfect sense - Motown had several hit Marvin & Tammi singles, needed a new LP, saw delays in Tammi being able to record new material, saw huge stack of unreleased or overlooked Tammi solo tracks (some of them fantastic songs that would work perfectly as duets, even if they weren't originally conceived that way)... what's not to understand? (This was Motown, remember - they'd have released an LP of Stevie Wonder's farts if they thought it would go gold.) There was no need in 1968 to drag Tammi through that drawn-out process, not while there were enough killer tracks in the can that could be hastily (and beautifully!) repurposed. None of that says anything about how much recording Tammi did or was capable of doing in 1968 or 1969, however much we'd like to read into it.
As for the last sentence, there's no reason for anyone to "shut up", but your ears aren't calibrated the same as my ears or anyone else's ears, otherwise we'd all buy the same records (hands up everyone else who thinks "Easy" sounds like "almost a Mae West impersonation"...? No, thought not.) We all hear slightly different things; what you and Ross Holloway hear as irrefutable proof it's Valerie, Ludie Montgomery hears as irrefutable proof it's Tammi, and I personally can't really tell enough of a difference to claim either way. If it is Valerie, she did a good enough impression to fool enough people that Marvin's "revelation" still seems to have been a major shock.
Last edited by radionixon; 12-15-2011 at 08:50 PM.
Okay. You're not in Court. Rest your case.
It's a discussion forum, isn't it?
Well, your "legal analysis" is couched as if it's a discussion, but you quickly seem to want to get snarky, as in your "everyone raise their hands" comment. Do you think your being an attorney makes your opinion any more valid than anyone else's, Sir? In any event, I'm done with this "discussion."
What the heck? No, I don't think that being a lawyer makes my opinion any more valid than anyone else's (if you've ever seen my site, you'll know I bend over backwards to make sure everyone's voice is heard) - and the 'hands up' thing wasn't meant to be "snarky" at all, just an illustration of how we're all hearing different things, which is what makes the world go round. Sorry if it came across as rude, I thought your first reply was going to be the start of a long and friendly discussion (you seemed to be writing in a sort of jokey tone), so I'm a little surprised by the turn this seems to have taken...?
Last edited by radionixon; 12-15-2011 at 09:36 PM.
The lawyer in me almost always comes down where Paul Nixon came down; there's the way the case would fall if we are being realistic as lawyers.
I have to say when I read the Ross Holloway style arguments, I'm nearly convinced.
So few of the legal cases against Motown were successful; basically most of the artists, producers, and writers never really signed on for a lot of money and spent everything they got......sadly, factually, there's never been much there to be successful with; I don't think that is popular but I believe it to be true.
Where the song "You're All I Need" is concerned, would Marvin have said quietly at one point (easy to hear on the stereo mix) "Tammi listen" if it was not Tammi? I say this as in older threads a contrast was drawn with the new songs on the Easy album where they do not sing their names as on the their first and second album together.
Perhaps they only sung each other's names when recording together and that when it came to the Easy sessions they recorded the songs separately.
I haven't really followed this thread closely, but found radionixon's evaluation just what is needed - an objective, forensic weighing up of the evidence. More basically, it also referred to "the disputed tracks", and i'm not sure exactly which ones they are anymore, or indeed if there is a uniform consensus in the 'Valerie as singer' camp as to which they are. So, apologies if they were clearly listed upthread, but can someone just list for me exactly which tracks are considered the disputed ones?
But seriously, I have a very difficult time believing that anyone who has played the Tammi Terrell's Anthology and knows the quality, texture and nuances of her voice and still claim that they can't tell the difference between the two voices and tracks in questions either aren't listening or need to get their hearing checked. Perhaps I've just listened to and have studied Tammi's voice more and can pick out the sutleties in her voice more and can recoginze the nuances and I know Valerie Simpson's voice and it's qualities and characteristics and once you know the difference then the tracks on Easy become quite obvious. It's like listening to an early Supreme's record where they are harmonizing, and still being able to pick out Diana's, Mary's and Florence's individual voices, even though they are mixed and blended in together...Either you know someone's voice or you don't...
And while I don't have as much spare time as Radionixon has to write a dissertation on the subject. I will take the time to point out some curious flaws in his "analysis". With respect to the quote attributed to Tammi's sister, I just wonder what type of answer we would get from her under cross-examination. I'm hesitant to give her quote any type of meaningful weight without knowing the exact question that was asked and I'd like to know her full quote and not the edited quote that Radionixon provided above. It's important to study things in context and not just a short snippet of perhaps a longer sentance or statement. Radio refers to the Ebony article and pulls quotes from there, but fails to mention the part where Tammi herself says that she has not recorded in a YEAR AND A HALF. I find it curious that he would just leave out that part of the story. Or maybe he thinks that Tammi is telling a lie as well.. Or maybe that bit of information just didn't fit in with his narrative.... Also if my memory serves me correctly, in Divided Soul doesn't Marvin Gaye also pull out the Easy album and play it for David Ritz and points out the exact songs that Valerie sings on. And doesn't Marvin also state that Motown convinced him to go along with Valerie singing so that Tammi would have an income to pay her medical bills? Why would Marvin say something of this nature that could have potential negative raminifactions for his own career? What motive would Marvin have for making that statment if it wasn't true? By all accounts Marvin had deep feelings for Tammi and cared for her very much. Why would he just make those statements, against his own self-interest and against Tammi's interest? Radionixon calls into question Marvin's veracity, but questions no one elses. Interesting...
He also states that Valerie doesn't have a motive for keeping the story alive. Well I'll give you two: money and Milli Vanilli. How much money has Valerie made from the Marvin and Tammi duets? Would the public stop buying not only the Easy album, if the public knew that it was not Tammi singing those songs, but would it also impact the sales of the United and the You're All I Need To Get By albums as well? Would it turn into a Milli Vanilli or Blackbox type situation, where those groups were quite popular and selling a ton of records..until it was exposed that the people we saw in the videos were not the actual singers, but rather studio singers doing the vocals. After that no one wanted to listen to their music, muchless buy their songs or albums. Nobody likes to be defrauded.
One other elephant sized detail that Radio glosses over is the fact that Tammi had SIX brain opertions at the time of the Ebony article. SIX BRAIN OPERATIONS!!! And I think either two or three more before she died. But Valerie, Motown and Radionixon want us all to believe that Tammi some how righted herself long enough to fly back and forth to Detroit to sing love songs, painstakingly and line by line? Right... Let me just say that I've never had brain surgery, so I don't know what the recovery period is like. But I can tell you that I've had plenty of head colds, and with them I've usually feeling like crap and out of commission for like a week at a time. Now I can only imagine what it would have been like to have brain surgery in the late 1960's and how long it would have kept me out of commission, or Tammi in this case, much less after SIX BRAIN SURGERIES. It just defies common sense. One useful bit of information, that we will probably never know, but would definitely shed light on the whole affair would be the exact date of Tammi's surgeries, and then match those dates up against the alleged recording dates. Morbid, I know, but I'm just saying what others refuse to write.
The last thing that I'd like to point out (again) is that Motown had a track record of substituting singers on records. If Motown did it with the Supreme's, their top selling and most popular group, then why wouldn't they do it with Tammi Terrell, if they thought they could get away with it? And didn't they have Richard Street singing behind the curtains for Paul Wiliams during live concerts? I don't think this point can either be overlooked or glossed over.
Finally, I hope no one takes offense to anything that I've written in any of my posts, they are not meant to offend anyone. Do I question the listening abilities of some folks and their ability to reason to with facts and logic? Yes, indeed. lol. Now question me again and I'll send Dick and Liz Cheney over to your house to destroy your computer. (and I'm not kidding!) You've all been warned!!
Last edited by RossHolloway; 12-16-2011 at 11:06 AM.
Now, THAT'S what I'm talking about!
Some really good points.* There's definitely a case to be made for both sides of the argument - I hope I didn't come across as though I was trying to say "Ha, you're obviously wrong, and here's 10,000 words explaining why!" - that's not me.* I still do feel that one side of the argument stacks up more strongly than the other based on what we've got, but as I said a few times, I don't think we'll ever really know the truth.* There's no Judo Argument here, no one piece of evidence that anyone can point to and say "see, this PROVES it!", hence the ongoing discussion.
(And it is a discussion - when I'm baldly stating my opinions, they're just that, opinions.* I don't have the desire or the ability to sh(o)ut down a debate!)
In order to respond, I think it'll be illustrative to go back to that Ebony article, because I believe it goes towards a few of the points you raise.* In the prologue, the journalist (not Tammi herself) does indeed state: "Tammi Terrell, bound for Detroit and her first recording date in nearly two years...", but this is referring to the airplane incident in the opening paragraphs, rather than when the article was written (which was "approximately six months after her sixth and final operation", according to the text itself - given the article was published in November '69, you can come up with a few plausible ballpark dates for both the writing, and Tammi's surgeries).* The article <i>then</i> goes on to state: "Plagued by physical and emotional breakdowns, she has been in and out of the hospital at least four times in the past six months. Unable to accept night club or theater engagements, she has concentrated her efforts on <b>recording and song writing.</b>" (my emphasis)
Now, admittedly this is flimsy evidence at best, but it's evidence nonetheless - evidence she was <i>trying</i> to do some recording even after her sixth surgery.* The Ebony article is most interesting to me because of the picture it paints of Tammi's health after her six operations; she was in pain, she didn't have full use of her arms and legs, but equally she wasn't completely incapacitated either.* I've never met anyone suffering from brain cancer, but I've read "cancer diaries" from the likes of Ivan Noble and Steven Wells, and they were as articulate and personable as ever literally right up until the end, so I don't think it's so very unlikely she was still trying to work at such a late stage.* I think it does terminal cancer sufferers in general a bit of a disservice to suggest Tammi's gravely serious condition flatly precluded any travel or studio work.
In terms of otherwise cherry-picking evidence, I'd like to underline that I'd question <em>everybody's</em> veracity on this one - I don't assume that Valerie's version is the right one, I just point out that as things stand, it's by far the most convincing.* The trouble is that Valerie's story (which could easily have been invented after the fact - I don't have a date for the first time she gave her guide vocals/line-by-line explanation, not sure if anyone else does?) pre-emptively neutralises Marvin's story by giving a plausible explanation as to why Marvin may have remembered wrong (i.e. he remembered Valerie doing guide vocals and got his memories mixed up), and Marvin isn't here to answer back.* All we can do is weigh up the evidence as it stands, which by nature favours Valerie.* I don't claim Marvin is lying (he is my favourite Motown artist!), just that on the balance of probabilities, I believe he was remembering wrong.
The Milli Vanilli argument is a very good one, and something I hadn't really considered before.* The possibility of a confession causing sales to nosedive is pretty strong motivation, for sure.* Having said that, nobody's disputing it's Marvin Gaye on those records rather than, say, JJ Barnes, so it's not a perfect comparison.* Plus, the cat's been out of the bag on this particular conspiracy theory for a long time already (genuine question: did Motown seek to stop Divided Soul going to print?), and UMG haven't exactly been careful about sticking to the party line.* The Gracenote CD database error above is clearly derived from the liner notes to <i>The Complete Duets</i> CD, an official release from 2001 - and, unless I'm mistaken, the only way to buy any of the three Marvin & Tammi albums in full these days? - whose liner notes state unambiguously that it's Valerie and not Tammi on the later recordings (based on Marvin's "revelation" rather than any new insider knowledge).* The compilation continues to sell regardless - though I agree it's legitimate to wonder if that would have been the case had the cover stated "Marvin Gaye and Tammi Terrell and Valerie Simpson" in big letters instead.* Food for thought!
Ultimately, the evidence just isn't there to definitively support either argument, and so it'll come down to what people want to believe.* I appreciate you think the best evidence of all is what's on the records, but I still feel this is completely subjective - though I could be in a tiny minority on that one (it wouldn't be the first time!).* I'd ask everyone reading this: ignoring the fact that the vocalist on Easy sounds a bit different to the "golden age" Tammi we know, was your first reaction on hearing that LP "They've replaced Tammi!"?* Did anyone identify Valerie Simpson's voice before Divided Soul?* Not trying to make a point, I'm genuinely curious.
Sorry, this turned out really long again, didn't it?
Posting this from a train on my phone, no idea what's with all the asterisks!?
Radio Nixon opened up on a lot of things that I too have acknowledged in my study! I read over his revelation in "Divided Soul" and saw That there wasn't alot of intimate details about Tammi. Plus, he stated that the "Easy" album was done to give Tammi's family more income, which doesn't add up since Mr. Gordy was already paying for the medical bills.
The fact that Ludie herself says that it's Tammi on the recordings carries alot of weight! as some might recall, some of Michael Jackson's recordings on the "Michael" album were also debated for authenticity. And several close family members spoke out and said it wasn't him! Even his son Prince, who was there when they were recorded, said that only some lines were used but the rest wasn't him!
The bottomline though is that no matter how much evidence is presented, I think a lot of fans (i'm not naming names) are keep finding more ways to scrape off Tammi from the "Easy" album. And I can understand why. It's good music, but it just doesn't move us the way it did when Tammi had her full stamina. Plus, it's not easy to imagine her working through all she had to deal with. That's personally how I felt for some time after i accepted Valerie's story. But at the same time, it makes me happy to know that Tammi was making the most of the little time she had left on this earth! And it only makes me appreciate her that much more.
Last edited by jboy88; 12-17-2011 at 11:08 PM.
I bought "Easy" when it first came out, and it didn't even cross my mind that it might not be Tammi singing, and I don't remember anyone else questioning it at the time. Did we all have cloth ears?
This thread is very interesting and a good read all around. Having just rewatched the UNSUNG episode on Tammi (what a great series that is), I'm just sad her life and singing ended so early. The section where they talk about Marvin and her singing together for the last time (he from the stage and her from the audience) is just heartbreaking. As for who's actually singing on the disputed tracks, all I know is that to my ears the voice simply does not sound like the same Tammi as before, even if it is coming from the same woman. Knowing how sick she was for so much of her short life only makes her talent and star quality all the more wondrous...
Last edited by ejluther; 12-16-2011 at 07:32 PM. Reason: spelling and stuff...
and she insisted during my interview with her on the show, carries no weight whatsoever. Ludie wasn't present during the recordings, and I would say has a bit of a vested interest in helping to maintain the legend. It's still laughable to me that the evidence is on the album "Easy" itself. If one would merely listen to the tracks "in question" and the ones that Marvin was engineered onto and listen to the difference in the female voices.
i don't quite get the line of reasoning that people have who express worries about tammi terrell's legacy. so she didn't sing on the single "good loving at easy" and most of the "easy" album ... does that ruin her career? no! of course not. who here doesn't think that had she been in good health tammi wouldn't have nailed the "easy" sessions? i have never read a bad word about tammi's voice or spunky stage persona. healthy, she was a little dynamo and one of the few new rising stars at motown. there is no reason to be protective of her. her legacy was made long before the "easy" fiasco (of which she would have been the only innocent party because of the state of her fragile health.) motown's actions only put the company in a bad light ... but then the company was running as many record companies ran then. the person i have the most questions about are the real intentions of valerie simpson.
i waiver between trying to understand how valerie would write, produce, and sing on the "easy" album. was she was overly interested in furthering her carreer with her biggest act at that time? or did the whole messy situation just roll out of her control? once valerie was in deep it makes sense that she cover her actions with a stories that never actually say, "i never sang under tammi terrell's name".
remember, valerie was a formidable and forceful presence in the studio. she wasn't fooling around at motown, and it isn't surprising with the exit of holland,dozier,&holland and the split of the supremes that she ended up with barry gordy's ticket to hollywood, diana ross! i always read carefully between the lines of everything simpson says about the gaye/terrell "easy" sessions. she always seem too suspiciously coy to me. it is almost as if she knows it is in her best interest to say she didn't do tammi's parts, but yet valerie wants some recognition for what is probably one of the more cohesive albums of its time at motown (minus, of course, the two songs that are from older tammi sessions and feel out of place on "easy"). valerie does deserve credit for this album. it is good. valerie's voice is great, and a careful reading of what terrell might have done had she been healthy enough to sing. too bad that the album was produced under such difficult, stressful and secretive conditions. the "easy" sessions turned out to be anything but!
everyone was driven at motown, some more than others. simpson certainly was. ms. terrell, in this last year of her life, had more compelling concerns.
Last edited by thisoldheart; 12-16-2011 at 09:56 PM.
I only say scrape off because whenever this topic comes up, I read a bunch of theories as to why Valerie Simpson doesn't admit to doing all the vocals. It's all a case of one-sided selective exposure. Rather than say I think Val sings this but it could be Tammi, it's "Val's under contract or some other type of claim!
I think it's natural to speculate and to wonder why she wouldn't speak the truth, when it is so very clear that it not only isn't Tammi but IS Valerie.
I still stand by all my previous statements. In fact after re-reading the statements by Johnny Bristol and Valerie Simpson herself, I'm even more convinced that it's Valerie's voice. Can someone define what a "rich tapestry" is exactly?
it means simpson stitched her voice over tammi's ... if, in fact, tammi was in any shape to sing a single note!
Last edited by Kamasu_Jr; 03-08-2013 at 03:16 PM.
Dag, I missed this discussion but I have to say, someone would have to have been REALLY STRONG to, after going through six brain operations, somehow manage to come to Detroit and sing at a recording studio. At this point, I don't think saying it's Valerie singing on those records would hurt Tammi's reputation at all. If anything, it actually strengthens it.
Motown wanted to protect it's own mythology..
they also told us all those 1960's Diana Ross records were by The Supremes (Love Child, Someday We'll Be Together, The Composer, No Matter What Sign You Are, etc..)
And even back then it was obvious to me that on a couple tracks they were just Tammi solo vocals with Marvin's voice added.
Midnight Johnny is right, a good listen to the LP is quite revealing.
Great input radionixon. I dont understand why some dismiss Valerie as perpetuating falsehoods. It clearly wouldnt hurt her to say it was her if that was the truth.
Your All I Need to get by, Ain't No Mountain HIgh Enough,
Ain't Nothing Like the Real Thing, Your Precious Love, If I Could Build My Whole World Around You, And with that said Marvin and Tammi Terrell were the greatest Pop Soul Duo that has not been touched since.
I was flabbergasted when I listened very carefully to You're All I Need To Get By yesterday and realized that it's Valerie Simpson's voice!!! It's not my favorite "Marvin/Tammi" record ... that would be "Your Precious Love", so I hadn't listened closely or sung along with YAINTGB very often. It was immediately apparent to me hat instead of Tammi's high, thin, reedy (but infinitely charismatic) voice it was the richer, more colorful, gospel inflected (but less charismatic, less unique) voice of Miss Simpson.
I'm sorry, but I don't buy this charade. The texture of the two voices is not the same. Neither is the diction. Tammi had a very strong (or "strawng") southern twang in her delivery that is missing in Valerie's imitation. Check out Tammi's twang on the word "enough" in "Ain't No Mountain High Enu-u-uff" for example. That along with the fact that Val's voice is smoother, more nuanced and controlled than the thin, high, reedy and to me, much more captivating and interesting voice of Tammi Terrell was all the proof I needed when I listened. There is more "depth" to Val's voice but I prefer Tammi's. I just let my ears tell me.
What a great discussion.
I remember this thread occurred while I was taking Mass Comm 101 in college. There I learned the concept of Selective Exposure, where a person only takes in information that aligns with their own opinions or beliefs. I say this discussion, more often than not, fit the definition to a T. Several well thought out and written posts are met with disdain and criticism, while post like ears dont lie are met with high regard.
Last edited by jboy88; 07-09-2020 at 07:44 PM.
So many old timers gone - some so connected with Motown - sad, such a shame
I still love the album be it TT or VS singing. My ears tell me its Valerie Simpson on the majority of those Easy tracks doing an extremely good impression. Either way its still a superb album.
My 1st M&T was their greatest hits, even then I knew there was a difference in the female voice on some of the tracks..But after doing some research.on Tammi I just thought it was because of her declining health. If Tammi only was able to sing a line or 2 at a time, as Valerie has said did happen, then of course it would effect the sound of the performance..in some instances on You're All I Need, I hear the Easy Tammi voice on the title track! But there are parts on YAINTGB where MG says Tammi's name. Pretty confusing to me
Here's another interesting piece to the puzzle. It's another solo track that Tammi did in May 1966 where Marvin Gaye's vocals are added way after the fact. DFTM indicates that this manufactured duet was completed in March 1968. Anyone else find it interesting that this track was done so early in 1968, even before the true nature of Tammi's illness was unknown?
Not sure of the timeline but by early 1968, Tammi may have already been operated on at least once. Her illness is referenced in the liner notes to the YOU'RE ALL I NEED album, which was released in August 1968. So by that point, there might have been more of a need for Marvin to overdub on Tammi's older recordings.
Last edited by reese; 10-04-2020 at 07:06 PM.


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Brad Haddin has labelled former Test coach Mickey Arthur "insecure" and accused him of setting the Australian team back in its progress.
Haddin says Arthur's successor Darren Lehmann has turned Australia's dressing room and demeanour around ahead of Thursday's first Ashes Test at the Gabba.
Lehmann is credited with providing the side with stability and for returning players to a brand of cricket that made Australia the number one Test nation in the past.
Negativity surrounding the Australian team culture has dominated the pre-Ashes build-up, with England shooting for a fourth-straight triumph, but Haddin said it was Arthur who has a lot to answer for.
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Not the same team under Arthur
Haddin arrived in the middle of that storm as an injury replacement for then wicketkeeper Matthew Wade and described the mood as uncomfortable and paranoid.
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David Warner, whose pre-Ashes punch on Joe Root contributed to Arthur's sacking in June, on Tuesday expressed confidence with a clear head in a sign of how the team's mindset had changed under Lehmann.
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As England's wicketkeeper Matt Prior fights to prove his fitness, Haddin says he's never felt more comfortable in his game.
Haddin said dealing with the ill-health of daughter Mia last year forced him to drop everything and put cricket on the backburner, with family his number one priority.
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Watson and Haddin also said they were comfortable umpires would be well enough prepared to use the real-time snicko technology that has been added to the decision review system for this series.


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Wouldn't it be nice, while waiting for the bus, to have an aquarium full of fish to look at? At least for those first few days, until they die, at which point it'd get depressing.
This bus stop is a real design coming out of Brazil, dubbed "AqurioMania." Due to the ridiculous expenses involved with setting up a working aquarium outside at a bus stop and hiring people to keep the fish fed and the tank clean, I doubt it'll ever actually be used. But you've got to wonder what kind of graffiti this would attract. [Cubeme via The Design Blog]


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By Ian Simpson
WASHINGTON (Reuters)
Tom Mauser came to the U.S. Capitol on Tuesday dressed in gray Vans sneakers, the same ones his 15-year-old son Daniel wore when he was killed by two gunmen at Colorado's Columbine High School in 1999 along with a dozen other people
Mauser was one of a handful of gun control activists and volunteers who braved a frigid March morning to lay out about 7,000 pairs of shoes on the U.S. Capitol lawn as a makeshift memorial to American children killed by gun violence.
Their aim, like the thousands of students across the country who plan to walk out of their classrooms for 17 minutes on Wednesday morning, was to put more pressure on state and federal lawmakers to tighten rules on gun ownership.
"There's nobody in those shoes, it's like the emptiness in our hearts from gun violence," said Mauser, 66, of Littleton, Colorado.
The memorial, organised by Avaaz, a U.S.-based civic organisation, and the National School Walkout, organised by the activists behind the Women's March in Washington, are part of a grass-roots movement that grew out of the killing of 17 students and staff at a Florida high school a month ago.
"I think we're in the middle of a cultural change in the United States. The majority of Americans want a change in gun laws, and a majority of gun owners want change," said Emma Ruby-Sachs, deputy director of Avaaz.
Many of the proposals favoured by gun control advocates, including a ban on assault-style weapons and the closing of loopholes on requiring background checks before gun purchases, are fiercely opposed by the National Rifle Association and its supporters.
The 7,000 pairs of donated footwear, arranged side by side in a trapezoid shape outside the Capitol, represent every person younger than 18 who has been killed by a firearm since the 2012 massacre at the Sandy Hook elementary school shooting in Newtown, Connecticut. Actresses Susan Sarandon and Bette Midler, and talk show host Chelsea Handler were among shoe donors.
About 1,300 people below the age of 18 are killed by gunfire in the United States every year, according to the U.S. Centers for Disease Control and Prevention.
On Wednesday, students will again take centre stage in the political theatre over guns that has gripped the country since the Feb. 14 shooting at Marjory Stoneman Douglas High School in Parkland, Florida.
The national walkout will last 17 minutes, beginning at 10 a.m. local time, to commemorate the 17 victims who lost their lives in the Florida massacre. It was the deadliest school shooting since 20 children and six adults were shot dead at Sandy Hook more than five years ago.
The walkout has won the support of many school districts and civil rights organizations, including the American Civil Liberties Union. More than 2,500 walkouts are scheduled across the country, according to the organizer's website, including at Marjory Stoneman and Columbine high schools.
Mauser, a retired Colorado Department of Transportation employee, has attended dozens of gun-control demonstrations since the Columbine massacre. But he has grown cautiously optimistic about the prospects for change because of the new student involvement.
"These kids, it's their lives. They're not going to be distracted about Russia, about other things," Mauser said.
The shoe memorial is reminiscent of a monument on the Danube River near the Hungarian Parliament in Budapest commemorating thousands of people, including Jews, killed by fascists in the 1940s.
Many Canadian cities have marked the National Day of Remembrance and Action on Violence Against Women on Dec. 6 with similar "shoe memorials."
(Additional reporting by Gina Cherelus in New York; Editing by Frank McGurty and Bernadette Baum)


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Abbott, Grace
Jean K. Quam
Grace Abbott (1878–1939) was a teacher who went on to become Director of the Immigrants Protective League of Chicago and Director of the U.S. Children's Bureau. In 1934 she became professor of public welfare at the University of Chicago.
The ABCs of Media and Children: Attention, Behavior, and Comprehension
Ellen A. Wartella, Alexis R. Lauricella, Leanne Beaudoin-Ryan, and Drew P. Cingel
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Communication. Please check back later for the full article.
Children are and have been active media users for decades. Historically, the focus on children and media issues have centered on the concerns and consequences of media use, generally around violence. In the last 40 years, we have seen a shift to study children and media from a more holistic approach, to understand both the positive and negative relationships between children and media use. Further, the recognition of the very important developmental differences that exist between children of different ages and the use of grand developmental theories, including those by Piaget and Vygotsky, have supported the field's understanding of the unique ways in which children use media and the effects it has on their lives. Three important constructs related to a more complete understanding of children's media use are the ABCs (attention, behavior, and comprehension). The first construct, attention, focuses on the way in which children's attention to screen media develops, how factors related to parents and children can direct or influence attention to media, and how media may distract attention. The second construct is the behavioral effect of media use, including the relationship between media use and aggressive behavior, but importantly, the positive effect of prosocial media on children's behavior and moral development. Finally, the third construct is the important and dynamic relationship between media and comprehension and learning. Taken together, these constructs describe a wide range of experiences that occur within children's media use.
James Maxwell Ross Cormack and Nicholas Geoffrey Lemprière Hammond
Abernathy, Ralph David
Lou M. Beasley
Ralph David Abernathy (1926–1990) was a pastor who became president of the Southern Christian Leadership Conference after the assassination of Martin Luther King. He was director of personnel, dean of men, and professor of social studies at Alabama State University.
Abhisamayālaṃkāra (Ornament for Clear Realization)
James B. Apple
The Abhisamayālaṃkāra (Ornament for clear realization) is an instructional treatise on the Prajñāpāramitā, or Perfect Wisdom, whose authorship is traditionally attributed to Maitreyanātha (c. 350
The Abolition of Brazilian Slavery, 1864–1888
Ricardo Salles
Brazil was the last Western country to abolish slavery, which it did in 1888. As a colonial institution, slavery was present in all regions and in almost all free and freed strata of the population. Emancipation only became an issue in the political sphere when it was raised by the imperial government in the second half of the decade of the 1860s, after the defeat of the Confederacy in the US Civil War and during the war against Paraguay. In 1871, new legislation, despite the initial opposition from slave owners and their political representatives, set up a process of gradual emancipation. By the end of the century, slavery would have disappeared, or would have become residual, without major disruptions to the economy or the land property regime.
By the end of the 1870s, however, popular opposition to slavery, demanding its immediate abolition without any kind of compensation to former slave owners, grew in parliament and as a mass movement. Abolitionist organizations spread across the country during the first half of the 1880s. Stimulated by the direct actions of some of these abolitionist organizations, resistance to slavery intensified and became increasingly a struggle against slavery itself and not only for individual or collective freedom. Incapable of controlling the situation, the imperial government finally passed a law in parliament granting immediate and unconditional abolition on May 13, 1888.
D. Lynn Jackson
Until the 19th century, abortion law was nonexistent and abortion was not seen as a moral issue. However, by the turn of the 20th century, abortion was legally defined and controlled in most states. The landmark Supreme Court case, Roe v. Wade (1973), marked the legalization of abortion but did not end the controversy that existed. Legislation at both the federal and state levels has added restrictions on abortion, making it difficult for women to exercise their reproductive rights. Social work's commitment to promote the human rights of women compels social workers to be aware of and involved in this issue.
Robert Sallares
Abortion in American Film since 2001
Fran Bigman
In American cinema from 1916 to 2000, two main archetypes emerge in portrayals of women seeking abortion: prima donnas and martyrs/victims. While the prima donna category faded over the course of the 20th century, study of abortion in American cinema from 2001 to 2016 shows that the victim archetype persists in many films. Women who have abortions are cast as victims in films across a variety of genres: Christian, thriller, horror, and historical. Some recent films, however, namely, Obvious Child (2014) and Grandma (2015), reject this hundred-year-old tendency to portray abortion as regrettable and tragic—especially for the women choosing it—and instead show it as a liberating experience that brings women together, breaking new ground for the depiction of abortion in American film.
Absent Information in Integrative Environmental and Health Risk Communication
Jari Lyytimäki and Timo Assmuth
Communication is typically understood in terms of what is communicated. However, the importance of what is intentionally or unintentionally left out from the communication process is high in many fields, notably in communication about environmental and health risks. The question is not only about the absolute lack of information. The rapidly increasing amount and variability of available data require actors to identify, collect, and interpret relevant information and screen out irrelevant or misleading messages that may lead to unjustified scares or hopes and other unwanted consequences. The ideal of balanced, integrative, and careful risk communication can only rarely be seen in real-life risk communication, shaped by competition and interaction between actors emphasizing some risks, downplaying others, and leaving many kinds of information aside, as well as by personal factors such as emotions and values, prompting different types of responses. Consequently, risk communication is strongly influenced by the characteristics of the risks themselves, the kinds of knowledge on them and related uncertainties, and the psychological and sociocultural factors shaping the cognitive and emotive responses of those engaged in communication. The physical, economic, and cultural contexts also play a large role. The various roles and factors of absent information in integrative environmental and health risk communication are illustrated by two examples. First, health and environmental risks from chemicals represent an intensively studied and widely debated field that involves many types of absent information, ranging from purposeful nondisclosure aimed to guarantee public safety or commercial interests to genuinely unknown risks caused by long-term and cumulative effects of multiple chemicals. Second, light pollution represents an emerging environmental and health issue that has gained only limited public attention even though it is associated with a radical global environmental change that is very easy to observe. In both cases, integrative communication essentially involves a multidimensional comparison of risks, including the uncertainties and benefits associated with them, and the options available to reduce or avoid them. Public debate and reflection on the adequacy of risk information and on the needs and opportunities to gain and apply relevant information is a key issue of risk management. The notion of absent information underlines that even the most widely debated risk issues may fall into oblivion and re-emerge in an altered form or under different framings. A typology of types of absent information based on frameworks of risk communication can help one recognize its reasons, implications, and remediation.
Abstract Nouns in the Romance Languages
Philipp Burdy
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Linguistics. Please check back later for the full article.
Abstract words such as Fr. attention, It. diligenza, Sp. riqueza, Pt. cozedura, Ro. bunătate, belong to the word class nouns. They do not possess materiality and therefore lack sensory perceivability. Within the spectrum of nouns, abstracts are located on the opposite side of appellatives (e.g., Fr. chien, It. albero, Sp. casa); between them, there are collective nouns (e.g., Fr. montagne, It. fogliame, Sp. manada) and mass nouns (e.g., Fr. eau, It. cotone, Sp. leche). Abstract nouns are in part noncount and not able to be pluralized.
In terms of meaning, there is typically a threefold division in groups: (1) action/result nouns (e.g., Fr. lavage, traduction; It. caccia, giuramento; Sp. mordedura, cosecha; Pt. escolha, armação; Ro. arat, stricăciune); (2) status nouns (e.g., Fr. episcopat, It. cuginanza, Sp. almirantazgo, Pt. servidão, Ro. preoţie); and (3) quality nouns (e.g., Fr. dignité, It. cortezza, Sp. modestia, Pt. agrura, Ro. dulceaţă). However, these groups are not clearly delimitable. Action nouns generally tend to become concrete nouns due to metonymic change in meaning. This can be effected through the resultative meaning in fact since the Latin era: calceamentum "making of shoes" is derived from the verb calceare "to make shoes," which then assumed the collective meaning "footwear," which is the "result of the making." Correspondingly, there are numerous examples for collectives and concretes in Romance languages following the morphological pattern of abstracts, for example, Fr. couture "seam," venaison "venison," It. ossatura "bone frame," ornamento "decoration," Sp. pescado "fi," verdura "vegetable," Pt. vestimenta "clothing," moldura "frame," Ro. osăminte "bones," încinsătură "belt."
From a purely morphological standpoint, a classification of abstracts according to derivation basis appears suitable: (1) (primary) denominal abstracts (e.g., Fr. duché, It. linguaggio, Sp. añada, Pt. compadrio, Ro. pitărie); (2) (primary) deadjectival a. (e.g., Fr. folie, It. bellezza, Sp. cortesía, Pt. baixeza, Ro. greutate); and (3) (primary) deverbal a. (e.g., Fr. mouvement, It. uscita, Sp. nacencia, Pt. perdição, Ro. arătură). Beyond that, there are abstracts that are not derived within the Romance languages, for example, Fr. paix, It. gioia, Sp. edad, Pt. morte, Ro. somn (cf. lat. pax, gaudium, aetas, which are derivatives within Latin). Still other abstracts arise from conversion, in which a change in a word class occurs without the addition of affixes: Fr. le loisir, le froid; It. il bene, il bello; Sp. el parecer, lo dulce. Especially converted adjectives are mainly occasional formations that have not been lexicalized. In Romanian, the long form of the infinitive always has the function of a verbal abstract, for example, cântare "singing" vs. a cânta "to sing." Other examples for lexicalized conversions arise by means of ellipsis: lat. hibernum (tempus) → Fr. hiver, It. inverno, Sp. invierno, Pt. inverno, Ro. iarnă. The suffixless postverbal formation is of high significance in Romance languages, such as Fr. regret "regret" (← regretter), It. governo "government" (← governare), Sp. cambio "change" (← cambiar), Pt. perda "loss" (← perder), Ro. plac "pleasure" (← plăcea). Other abstract forming processes such as reduplication (Fr. cache cache "hide-and-seek," It. fuggi fuggi "escape") or conversion of finite verb forms (Fr. doit "amount") may be labeled marginal.
In light of this, the question of how far the formation of abstracts in Romance languages then follows Latin patterns (derivation with suffixes) or whether new processes emerge is of particular interest. In addition, the individual Romance languages display different preferences in choosing abstract forming morphological processes. To begin with, we find a larger number of abstract forming suffixes preserving their function in Romance languages, such as -ia (abundantia, sententia), -ía (astrología), -ura (scriptura), -ĭtia (pigritia), -mentum (ornamentum), -io (oratio). In addition, there is a group of Latin suffixes that have assumed the abstract forming function only in Romance. Among these are, for example, -aticu (Fr. péage, Sp. hallazgo), -aceu (Sp. cuchillazo), -aria (Sp. borrachera, It. vecchiaia), -oriu (Sd. albeskidordzu "daybreak"). Abstract forming suffixes of non-Latin origin are very rare, such as Germanic -eins (Old Fr. guerpine, plevine; Fr. haine). Suffixless processes of abstract formation are coming to full fruition only in Romance: The conversion of participles (Fr. vue, offerte; It. dormita, colorito; Sp. llegada, afeitado; Pt. chamada; sentido; Ro. făcut, mulţumită) is of special importance. The conversion of infinitives to nouns with abstract meaning is least common in Modern French (e.g., plaisir, devoir) and most widely spread in Romanian (iertare, stricare, etc., cf. above). Postverbal formation (Fr. amende, It. carica, Sp. Muestra, etc., cf. above), in contrast, is known to have a broad pan-Romance geographic spread. These innovative processes, too, can be traced back to the late Latin era. One problem lies in assigning grammatical gender in cases of suffixless formations: Nominalized participles and postverbal formations can be masculine or feminine while nominalized infinitives are mostly masculine; in Romanian, however, they are feminine.
Finally, the formation of abstracts as it is used in scientific and technical language follows the Neo-Latin and Greek word formation patterns (Fr. arthrite, tuberculose, athéisme; It. artrite, tubercolosi, ateismo; Sp. artritis, tuberculosis, ateísmo; Pt. artrite, tuberculose, ateísmo; Ro. artrită, tuberculoză, ateism) and therefore often only displays limited variation in the individual languages.
Abusive Supervision
Ann Peng, Rebecca Mitchell, and John M. Schaubroeck
In recent years scholars of abusive supervision have expanded the scope of outcomes examined and have advanced new psychological and social processes to account for these and other outcomes. Besides the commonly used relational theories such as justice theory and social exchange theory, recent studies have more frequently drawn from theories about emotion to describe how abusive supervision influences the behavior, attitudes, and well-being of both the victims and the perpetrators. In addition, an increasing number of studies have examined the antecedents of abusive supervision. The studied antecedents include personality, behavioral, and situational characteristics of the supervisors and/or the subordinates. Studies have reported how characteristics of the supervisor and that of the focal victim interact to determining abuse frequency. Formerly postulated outcomes of abusive supervision (e.g., subordinate performance) have also been identified as antecedents of abusive supervision. This points to a need to model dynamic and mutually reciprocal processes between leader abusive behavior and follower responses with longitudinal data. Moreover, extending prior research that has exclusively focused on the victim's perspective, scholars have started to take the supervisor's perspective and the lens of third-parties, such as victims' coworkers, to understand the broad impact of abusive supervision. Finally, a small number of studies have started to model abusive supervision as a multilevel phenomenon. These studies have examined a group aggregated measure of abusive supervision, examining its influence as an antecedent of individual level outcomes and as a moderator of relationships between individuals' experiences of abusive supervision and personal outcomes. More research could be devoted to establishing the causal effects of abusive supervision and to developing organizational interventions to reduce abusive supervision.
Stephen Mitchell
Was the best harbour on the Asiatic side of the *Hellespont. In the Iliad (2. 836) an ally of Troy and then a Thracian settlement, it was colonized c.700
Academic Capitalism
Richard Münch
Academic capitalism is a unique hybrid that unites the scientific search for truth and the economic maximization of profits. It turns universities into enterprises competing for capital accumulation and businesses into knowledge producers looking for new findings that can be turned into patents and profitable commodities. To understand what this new institutional setting means for science and the evolution of scientific knowledge, science as a field in a Bourdieusian perspective, which operates in the tension field between autonomy and heteronomy, is explored. On this basis, crucial features of academic capitalism and their impact on science as well as the evolution of scientific knowledge are described. Academic capitalism is located in the zone of the intersection of scientific research, economic profit maximization, and innovation policy. The institutional conflicts of interest involved in the corporate funding of academic research are addressed. The logic of academic capital accumulation is spelled out by describing the entrepreneurial university. Field effects of academic capital accumulation on science, namely increasing inequality, over-investment at the top, and under-investment among the rank and file are examined, along with the organizational effects of academic capital accumulation in terms of tightened managerial quality assurance on diversity and creativity as crucial prerequisites of advancing scientific knowledge. The main results of the analysis are summarized and some guidelines for future research are presented.
Academic Coping
Ellen Skinner and Emily Saxton
Academic coping describes the profile of responses children and adolescents utilize when they encounter challenges, obstacles, setbacks, and failures in their scholastic work. Coping is one of multiple strands of research from a variety of subareas within educational and developmental science that share a common interest in this topic, including work on academic resilience, buoyancy, mastery versus helplessness, tenacity, perseverance, and productive persistence, as well as adaptive help seeking, self-regulated learning, and emotion regulation. These approaches focus on the responses (including emotions and goal-directed behaviors) students actually undertake on the ground when they encounter academic difficulties in their daily lives; patterns of action can be contrasted with the belief systems, motivations, or skill sets that underlie these responses.
Since the mid 1980s, several dozen studies have examined academic coping in children and youth from 2nd to 12th grade (ages 7–18), including samples from 29 countries (Skinner & Saxton, 2019). These studies have identified multiple adaptive ways of dealing with academic stress, including problem solving, help seeking, and comfort seeking. These responses are considered productive because they allow students to gather resources and strategies, and so re-engage in demanding tasks with renewed purpose, vigor, and effectiveness. Multiple maladaptive ways of coping have also been identified, such as escape, rumination, or blaming others. These are considered unproductive because when enacted in response to academic demands, they are more likely to trigger disaffection, amplify distress, or provoke negative reactions from social partners.
In general, research indicates that students normatively show a profile of coping that is high in adaptive strategies (especially problem solving, help seeking, and support seeking) and low in maladaptive responses. Studies find that students' adaptive coping is linked to their academic functioning and success, including their educational performance, engagement, persistence, and adjustment to school transitions. In contrast, maladaptive coping is linked to a pattern of poor academic performance, disengagement, and school-related burnout. Students cope more adaptively when they possess motivational assets (such as self-efficacy, relative autonomy, or sense of belonging) and experience interpersonal supports from their parents, teachers, and peers. Studies documenting developmental trends suggest normative improvements in the coping repertoire during elementary school. However, over the transition to middle school in early adolescence, many adaptive ways of coping decline while reliance on maladaptive responses generally increases. Starting in middle adolescence, these problematic trends stabilize, and some studies indicate renewed improvement in coping, especially problem solving.
Current research on academic coping faces theoretical, methodological, and applied challenges: (a) theoretically, more comprehensive conceptualizations are needed that integrate coping perspectives with social contextual, motivational, and developmental approaches; (b) methodologically, standard measures are needed that focus on core categories of academic coping, and that utilize allocation scoring; and (c) to further applied work, additional studies are needed that describe and explain normative and differential age-graded changes in adaptive and maladaptive coping across childhood and adolescence. Researchers who study academic coping believe that this work has much to offer educational theories, research, and interventions aimed at understanding how to help children and adolescents develop the capacity to deal constructively with the obstacles and problems they will inevitably encounter during their educational careers.
Academic Integrity
Tracey Bretag
Academic integrity is an interdisciplinary concept that provides the foundation for every aspect and all levels of education. The term evokes strong emotions in teachers, researchers, and students—not least because it is usually associated with negative behaviors. When considering academic integrity, the discussion tends to revolve around cheating, plagiarism, dishonesty, fraud, and other academic malpractice and how best to prevent these behaviors. A more productive approach entails a focus on promoting the positive values of honesty, trust, fairness, respect, responsibility, and courage (International Center for Academic Integrity, 2013) as the intrinsically motivated drivers for ethical academic practice. Academic integrity is much more than "a student issue" and requires commitment from all stakeholders in the academic community, including undergraduate and postgraduate students, teachers, established researchers, senior managers, policymakers, support staff, and administrators.
Academic Languages and Literacies in Content-Based Education in English-as-an-Additional-Language Contexts
Angel M. Y. Lin
From the 1960s to the early 21st century, different terms have arisen in diverse research traditions and educational contexts where teachers and researchers are interested in exploring and researching ways of helping learners to learn both language and content at the same time. These terms include content-based instruction (CBI), immersion, sheltered instruction, language across the curriculum (LAC), writing across the curriculum (WAC), and content and language integrated learning (CLIL). Common to all these traditions, however, is the monoglossic and monolingual assumption about academic language and literacy. The dynamic process turn in applied linguistics has changed our view of the nature of language, languaging, and language learning processes. These new theoretical insights led to a transformation of research on LAC toward research on academic languages and literacies in the disciplines. A paradigm shift from monoglossic to heteroglossic assumptions is also particularly important in English-as-an-additional-language (EAL) contexts.


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(CNN) -- After signing an anti-homosexuality bill into law, Ugandan President Yoweri Museveni called homosexuals "disgusting" in an exclusive interview with CNN.
Museveni told CNN's Zain Verjee on Monday that, in his view, being homosexual is "unnatural" and not a human right.
"They're disgusting. What sort of people are they?" he said. "I never knew what they were doing. I've been told recently that what they do is terrible. Disgusting. But I was ready to ignore that if there was proof that that's how he is born, abnormal. But now the proof is not there."
Museveni had commissioned a group of Uganda government scientists to study whether homosexuality is "learned," concluding that it is a matter of choice.
"I was regarding it as an inborn problem," he said. "Genetic distortion -- that was my argument. But now our scientists have knocked this one out."
Dean Hamer, scientist emeritus at the National Institutes of Health, wrote an open letter to the Ugandan scientists in the New York Times last week urging them to reconsider and revise their report. Among his responses to their conclusions: "There is no scientific evidence that homosexual orientation is a learned behavior any more than is heterosexual orientation."
Museveni, whose public position on the measure changed several times, signed the bill into law at a public event Monday. The bill was introduced in 2009 and originally included a death penalty clause for some homosexual acts.
The nation's Parliament passed the bill in December, replacing the death penalty provision with a proposal of life in prison for "aggravated homosexuality." This includes acts in which one person is infected with HIV, "serial offenders" and sex with minors, according to Amnesty International.
Lawmakers in the conservative nation said the influence of Western lifestyles risked destroying family units.
The bill also proposed prison terms for anyone who counsels or reaches out to gays and lesbians, a provision that could ensnare rights groups and others providing services to lesbian, gay, bisexual and transgender people.
The White House issued a statement Monday: "Instead of standing on the side of freedom, justice, and equal rights for its people, today, regrettably, Ugandan President Museveni took Uganda a step backward by signing into law legislation criminalizing homosexuality."
The statement continued: "As President Obama has said, this law is more than an affront and a danger to the gay community in Uganda, it reflects poorly on the country's commitment to protecting the human rights of its people and will undermine public health, including efforts to fight HIV/AIDS. We will continue to urge the Ugandan government to repeal this abhorrent law and to advocate for the protection of the universal human rights of LGBT persons in Uganda and around the world."
United Nations High Commissioner for Human Rights Navi Pillay also denounced the law, saying it institutionalizes discrimination and could promote harassment and violence against lesbian, gay, bisexual and transgender people.
"This law violates a host of fundamental human rights, including the right to freedom from discrimination, to privacy, freedom of association, peaceful assembly, opinion and expression and equality before the law -- all of which are enshrined in Uganda's own constitution and in the international treaties it has ratified," Pillay said in a statement.
Museveni also told CNN that the West should not force its beliefs onto Ugandans.
"Respect African societies and their values," he said. "If you don't agree, just keep quiet. Let us manage our society, then we will see. If we are wrong, we shall find out by ourselves, just the way we don't interfere with yours."
He also said Westerners brought homosexuality to his country, corrupting society by teaching Ugandans about homosexuality. The West has also helped make children at schools homosexual by funding groups that spread homosexuality, he said.
Attitudes against homosexuality are prevalent in Uganda. A 2013 report from Pew Research found that 96% of Ugandans believe society should not accept homosexuality.
Thirty-eight African countries have made homosexuality illegal. Most sodomy laws there were introduced during colonialism.
Even before Museveni signed the bill into law, homosexual acts were punishable by 14 years to life in prison.
Ugandan gay rights activist Pepe Julian Onziema told CNN's Christiane Amanpour that some gay people in Uganda would rather kill themselves than live under the new law.
"Prior to the bill becoming law today, people attempted suicide because they are like, 'I'm not going to live to see this country kill me -- so I would rather take my life.' "
Many have already left the country in fear of violence, Onziema said, and among those who stay, many are stopping their activism.
Onziema, however, says he is not afraid. He says he won't let the law take away his voice.
CNN's Zain Verjee and Antonia Mortensen reported from Kampala, Uganda. Elizabeth Landau wrote from Atlanta. CNN's Mick Krever, Christiane Amanpour, Nana Karikari-apau, Faith Karimi, Nick Thompson and Yousuf Basil contributed to this report.