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Ruination Day”
Woody Guthrie Annual, 4 (2018): Fernandez, “Ruination Day” “Ruination Day”: Gillian Welch, Woody Guthrie, and Disaster Balladry1 Mark F. Fernandez Disasters make great art. In Gillian Welch’s brilliant song cycle, “April the 14th (Part 1)” and “Ruination Day,” the Americana songwriter weaves together three historical disasters with the “tragedy” of a poorly attended punk rock concert. The assassination of Abraham Lincoln in 1865, the sinking of the Titanic in 1912, and the epic dust storm that took place on what Americans call “Black Sunday” in 1935 all serve as a backdrop to Welch’s ballad, which also revolves around the real scene of a failed punk show that she and musical partner David Rawlings had encountered on one of their earlier tours. The historical disasters in question all coincidentally occurred on the fourteenth day of April. Perhaps even more important, the history of Welch’s “Ruination Day” reveals the important relationship between history and art as well as the enduring relevance of Woody Guthrie’s influence on American songwriting.2 Welch’s ouevre, like Guthrie’s, often nods to history. From the very instruments that she and Rawlings play to the themes in her original songs to the tunes she covers, she displays a keen awareness and reverence for the past. The sonic quality of her recordings, along with her singing and musical style, also echo the past. This historical quality is quite deliberate. Welch and Rawlings play vintage instruments to achieve much of that sound. Welch’s axes are all antiques—her main guitar is a 1956 Gibson J-50. -
The Edward R. Murrow of Docudramas and Documentary
Media History Monographs 12:1 (2010) ISSN 1940-8862 The Edward R. Murrow of Docudramas and Documentary By Lawrence N. Strout Mississippi State University Three major TV and film productions about Edward R. Murrow‟s life are the subject of this research: Murrow, HBO, 1986; Edward R. Murrow: This Reporter, PBS, 1990; and Good Night, and Good Luck, Warner Brothers, 2005. Murrow has frequently been referred to as the “father” of broadcast journalism. So, studying the “documentation” of his life in an attempt to ascertain its historical role in supporting, challenging, and/or adding to the collective memory and mythology surrounding him is important. Research on the docudramas and documentary suggests the depiction that provided the least amount of context regarding Murrow‟s life (Good Night) may be the most available for viewing (DVD). Therefore, Good Night might ultimately contribute to this generation (and the next) having a more narrow and skewed memory of Murrow. And, Good Night even seems to add (if that is possible) to Murrow‟s already “larger than life” mythological image. ©2010 Lawrence N. Strout Media History Monographs 12:1 Strout: Edward R. Murrow The Edward R. Murrow of Docudramas and Documentary Edward R. Murrow officially resigned from Life and Legacy of Edward R. Murrow” at CBS in January of 1961 and he died of cancer AEJMC‟s annual convention in August 2008, April 27, 1965.1 Unquestionably, Murrow journalists and academicians devoted a great contributed greatly to broadcast journalism‟s deal of time revisiting Edward R. Murrow‟s development; achieved unprecedented fame in contributions to broadcast journalism‟s the United States during his career at CBS;2 history. -
Everything Man Paul Robeson the Form and Function Of
EVERYTHING THE MAN FORM AND FUNCTION PAUL OF ROBESON SHANA L. REDMOND EVERYTHING MAN refiguring american music A series edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles McGovern, contributing editor duke university press | durham and london | 2020 EVERYTHING MAN THE FORM AND FUNCTION OF PAUL ROBESON shana l. redmond © 2020 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ∞ Cover designed by Drew Sisk Text designed by Matthew Tauch Typeset in Whitman by Copperline Book Services Library of Congress Cataloging- in- Publication Data Names: Redmond, Shana L., author. Title: Everything man : the form and function of Paul Robeson / Shana L. Redmond. Description: Durham : Duke University Press, 2020. | Includes bibliographical references and index. Identifiers:lccn 2019015468 (print) lccn 2019980198 (ebook) isbn 9781478005940 (hardcover) isbn 9781478006619 (paperback) isbn 9781478007296 (ebook) Subjects: lcsh: Robeson, Paul, 1898–1976. | Robeson, Paul, 1898–1976—Criticism and interpretation. | Robeson, Paul, 1898–1976—Political activity. | African American singers— Biography. | African American actors—Biography. Classification: lcc e185.97.r63 r436 2020 (print) | lcc e185.97.r63 (ebook) | ddc 782.0092 [b]—dc23 lc record available at https://lccn.loc.gov/2019015468 lc ebook record available at https://lccn.loc.gov/2019980198 Cover art: Norman Lewis (1909–1979), Too Much Aspiration, 1947. Gouache, ink, graphite, and metallic paint on paper, 21¾ × 30 inches, signed. © Estate of Norman Lewis. Courtesy of Michael Rosenfeld Gallery llc, New York, NY. This book is freely available in an open access edition thanks to tome (Toward an Open Monograph Ecosystem)— a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of Arcadia, a charitable fund of Lisbet Rausing and Peter Baldwin, and the ucla Library. -
9781134588374.Pdf
Black Celebrity, Racial Politics, and the Press Shifting understandings and ongoing conversations about race, celebrity, and protest in the twenty-fi rst century call for a closer examination of the evolution of dissent by black celebrities and their reception in the public sphere. This book focuses on the way the mainstream and black press have covered cases of controversial political dissent by African American celeb- rities from Paul Robeson to Kanye West. Jackson considers the following questions: (1) What unique agency is available to celebrities with racialized identities to present critiques of American culture? (2) How have journalists in both the mainstream and black press limited or facilitated this agency through framing? What does this say about the varying role of journalism in American racial politics? (3) How have framing trends regarding these fi gures shifted from the mid-twentieth century to the twenty-fi rst century? Through a series of case studies that also includes Eartha Kitt, Tommie Smith and John Carlos, Sister Souljah, and Mahmoud Abdul-Rauf, Jackson illustrates the shifting public narratives and historical moments that both limit and enable African American celebrities in the wake of making public politicized statements that critique the accepted racial, economic, and mili- tary systems in the United States. Sarah J. Jackson is an Assistant Professor of Communication Studies at Northeastern University. Her research examines the construction of social identities in national debates about citizenship, inequality, and social change. Jackson’s research has appeared in The International Journal of Press Poli- tics and Feminist Media Studies. Routledge Transformations in Race and Media Series Editors: Robin R. -
Of Paul Robeson 53
J. Karp: The “Hassidic Chant” of Paul Robeson 53 Performing Black-Jewish Symbiosis: The “Hassidic Chant” of Paul Robeson JONATHAN KARP* On May 9, 1958, the African American singer and political activist Paul Robeson (1898–1976) performed “The Hassidic [sic] Chant of Levi Isaac,” along with a host of spirituals and folk songs, before a devoted assembly of his fans at Carnegie Hall. The “Hassidic Chant,” as Robeson entitled it, is a version of the Kaddish (Memorial Prayer) attributed to the Hasidic rebbe (master), Levi Yitzhak of Berditchev (1740–1810), a piece also known as the “Din Toyre mit Got” (“The Lawsuit with God”). According to tradition, Levi Yizhak had composed the song spontaneously on a Rosh Hashanah as he contemplated the steadfast faith of his people in the face of their ceaseless suffering. He is said to have stood in the synagogue before the open ark where the Torah scrolls reside and issued his complaint directly to God: a gut morgn dir, riboynoy shel oylem; ikh, levi yitzhak ben sarah mi-barditchev, bin gekumen tzu dir mit a din toyre fun dayn folk yisroel. vos host-tu tzu dayn folk yisroel; un vos hos-tu zich ongezetst oyf dayn folk yisroel? A good day to Thee, Lord of the Universe! I, Levi Yitzhak, son of Sarah, from Berditchev, Bring against you a lawsuit on behalf of your People, Israel. What do you have against your People, Israel? Why have your so oppressed your People, Israel?1 After this questioning of divine justice, Levi Yitzhak proceeded to chant the Kaddish in attestation to God’s sovereignty and supremacy. -
SHOULD NEWSPAPERS CRUSADE? Answer: Yes George Chaplin
----------------------~----------------------------------------------------------~-~ Ieman• orts October~ 1949 SHOULD NEWSPAPERS CRUSADE? Answer: Yes George Chaplin Turnover Among Newsmen William M. Pinkerton The Guild and Education Norval Neil Luxon The Character of the Newspaper Job Louis M. Lyons V A Dutchman Looks at the U. S. Press Jan Roelof Klinkert A Country Editor's Creed Donald A. Norberg The Story Behind the Story "CBS Views the Press" Seminar on Russia Houstoun Waring Nieman Scrapbook Letters Nieman Notes Nieman Reports is published by the Nieman Alumni Council, elected by former Nieman Fellows at Harvard University. It aims to provide a medium for discussion by newspapermen of problems common t.o their profession. Nine out of ten sub!Scriber·S to Nieman Reports and very many of its contributors are not themselves former Nieman Fellows but share a belief in the purpose of the Nieman Foundation "to promote and elevate standards of journalism in the U. S." NIEMAN REPORTS and receptions given by large corporations, and under the heading, "They Made It Possible" on the NEA programs, 22 firms and organizations were thanked for "making this con NiemanReports vention a success." Seventeen hosts were business concerns and organizations, including General Motors, the United States Brewers Foundation, Ford Motors, Geneva (U. S.) Steel, Kennecott Copper and the Utah Manufacturers Asso Nieman Reports is published by the Nieman Alumni ciation. Geneva Steel and Kennecott have large operations, Council: John MeL. Clark, Claremont, N. H.; Paul L. so like the other Utah companies they could legitimately Evans, Mitchell, S. D.; Lawrence A. Fernsworth, New play host to Utah visitors. York City; Thomas H. -
Journalism 375/Communication 372 the Image of the Journalist in Popular Culture
JOURNALISM 375/COMMUNICATION 372 THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Journalism 375/Communication 372 Four Units – Tuesday-Thursday – 3:30 to 6 p.m. THH 301 – 47080R – Fall, 2000 JOUR 375/COMM 372 SYLLABUS – 2-2-2 © Joe Saltzman, 2000 JOURNALISM 375/COMMUNICATION 372 SYLLABUS THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Fall, 2000 – Tuesday-Thursday – 3:30 to 6 p.m. – THH 301 When did the men and women working for this nation’s media turn from good guys to bad guys in the eyes of the American public? When did the rascals of “The Front Page” turn into the scoundrels of “Absence of Malice”? Why did reporters stop being heroes played by Clark Gable, Bette Davis and Cary Grant and become bit actors playing rogues dogging at the heels of Bruce Willis and Goldie Hawn? It all happened in the dark as people watched movies and sat at home listening to radio and watching television. “The Image of the Journalist in Popular Culture” explores the continuing, evolving relationship between the American people and their media. It investigates the conflicting images of reporters in movies and television and demonstrates, decade by decade, their impact on the American public’s perception of newsgatherers in the 20th century. The class shows how it happened first on the big screen, then on the small screens in homes across the country. The class investigates the image of the cinematic newsgatherer from silent films to the 1990s, from Hildy Johnson of “The Front Page” and Charles Foster Kane of “Citizen Kane” to Jane Craig in “Broadcast News.” The reporter as the perfect movie hero. -
Film & Media Studies
The University Press Group Film Studies & Media Studies University of California Press Columbia University Press Princeton University Press Complete Catalogue Autumn 2021 Catalogue Contents Page University of California Press New Titles ............................................ 1 The University of California Press strives to drive progressive change by seeking out and Billy Wilder .......................................... 4 cultivating the brightest minds and giving them voice, reach, and impact. We believe that scholarship is a powerful tool for fostering a deeper understanding of our world and Austrian Film Museum .................. 6 changing how people think, plan, and govern. The work of addressing society’s core challenges—whether they be persistent inequality, a failing education system, or global Best of Backlist ................................ 7 climate change—can be accelerated when scholarship assumes its role as an agent of Backlist ............................................... 11 engagement and democracy. ucpress.edu Index ................................................... 43 How to order .................................. 66 Columbia University Press Columbia University Press seeks to enhance Columbia University’s educational and research mission by publishing outstanding original works by scholars and other intellectuals that contribute to an understanding of global human concerns. The Press also reflects the importance of its location in New York City in its publishing programs. Through book, reference, electronic -