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Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive
Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive By Tyfahra Danielle Singleton A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Judith Butler, Chair Professor Chana Kronfeld Professor Linda Williams Fall 2011 Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive Copyright © 2011 by Tyfahra Danielle Singleton Abstract Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive by Tyfahra Danielle Singleton Doctor of Philosophy in Comparative Literature University of California, Berkeley Professor Judith Butler, Chair ―Facing Jazz, Facing Trauma‖ posits American jazz music as a historical archive of an American history of trauma. By reading texts by Gayl Jones, Ralph Ellison, Franz Kafka; music and performances by Louis Armstrong and Billie Holiday; the life, art and films of Josephine Baker, and the film The Jazz Singer (1927), my goal is to give African American experiences of trauma a place within American trauma studies and to offer jazz as an extensive archive of testimony for witnessing and for study. Initially, I explore the pivotal historical moment where trauma and jazz converge on a groundbreaking scale, when Billie Holiday sings ―Strange Fruit‖ in 1939. This moment illuminates the fugitive alliance between American blacks and Jews in forming the historical testimony that is jazz. ―Strange Fruit,‖ written by Jewish American Abel Meeropol, and sung by Billie Holiday, evokes the trauma of lynching in an effort to protest the same. -
Phil Ochs: No Place in This World
College Quarterly - Summer 2005 Page 1 of 25 College Quarterly Summer 2005 - Volume 8 Number 3 Home Phil Ochs: No Place in this World Contents by Howard A. Doughty Abstract Phil Ochs was a prominent topical songwriter and singer in the 1960s. He was conventionally considered second only to Bob Dylan in terms of popularity, creativity and influence in the specific genre of contemporary folk music commonly known as "protest music". Whereas Dylan successfully reinvented himself many times in terms of his musical style and social commentaries, Ochs failed to win critical support when he, too, attempted to transform himself from a broadside balladeer into a more self-consciously artistic lyricist and performer. From the events at the Democratic Party convention in 1968 until his suicide in 1976, Phil Ochs' public and private life spiraled downward. Today, he would be readily identified as a victim of "bipolar disorder." Such a psychiatric assessment, while plausible in its own terms, says nothing about the political events that set the context for Phil Ochs' personal tragedy. This paper attempts to balance the individual and larger contextual themes. This article is prompted as much by personal reflection upon a particular man as it is by the ostensibly more general subject of his music, politics and relationship to American culture. Now, in the thirtieth year since his suicide, I am still seeking to sort out what, if anything, was the meaning of Phil Ochs' life, work and death to people who were outside his small circle of friends and family. I have made three attempts to put my own feelings in writing. -
Phil Ochs, Vietnam, and the National Press
Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2016 All the News That’s Fit to Sing: Phil Ochs, Vietnam, and the National Press Thomas C. Waters Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the Cultural History Commons, Social History Commons, and the United States History Commons Recommended Citation Waters, Thomas Cody. "All the News That’s Fit to Sing: Phil Ochs, Vietnam, and the National Press" Master's thesis, Georgia Southern University, 2016. This thesis (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. ALL THE NEWS THAT’S FIT TO SING: PHIL OCHS, VIETNAM, AND THE NATIONAL PRESS by THOMAS CODY WATERS (Under the Direction of Eric Allen Hall) ABSTRACT Though a prolific topical musician and a prominent figure of the antiwar movement during the 1960s, Phil Ochs remains relatively understudied by scholars due to the lure of more commercially successful folk artists like Bob Dylan and Joan Baez. His music facilitated awareness of pressing, and sometimes controversial, issues that would otherwise have not been discussed. Focusing on Ochs’ most musically productive years from 1964 until 1968, which coincide with the years of increased American involvement in Southeast Asia, this thesis analyzes Ochs in a way that has not been attempted before. -
Phil Ochs Pkupdated
Phil Ochs: There but for Fortune A film by Kenneth Bowser 98 minutes, Color and B/W, 2010 HDCAM, Stereo, 16:9 FIRST RUN FEATURES The Film Center Building, 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] “There’s no place in this world where I’ll belong, when I’m gone, And I won’t know the right from the wrong, when I’m gone, And you won’t find me singin’ on this song, when I’m gone. So I guess I’ll have to do it while I’m here” – Phil Ochs SYNOPSIS As our country continues to embroil itself in foreign wars and once again pins its hopes on a new leader’s promise for change, the feature length documentary, Phil Ochs: There But For Fortune is a timely tribute to an unlikely American hero. Phil Ochs, a folk singing legend, who many called “the emotional heart of his generation,” loved his country and he pursued its honor, in song and action, with a ferocity that had no regard for consequences. Wielding only a battered guitar, a clear voice and a quiver of razor sharp songs, he tirelessly fought the “good fight” for peace and justice throughout his short life. Phil Ochs rose to fame in the early 1960’s during the height of the folk and protest song movement. His songs, with lyrics ripped straight from the daily news, spoke to those emboldened by the hopeful idealism of the day. -
Modern Trauma and the Jazz Archive by Tyfahra Danielle Singleton A
Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive By Tyfahra Danielle Singleton A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Judith Butler, Chair Professor Chana Kronfeld Professor Linda Williams Fall 2011 Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive Copyright © 2011 by Tyfahra Danielle Singleton Abstract Facing Jazz, Facing Trauma: Modern Trauma and the Jazz Archive by Tyfahra Danielle Singleton Doctor of Philosophy in Comparative Literature University of California, Berkeley Professor Judith Butler, Chair ―Facing Jazz, Facing Trauma‖ posits American jazz music as a historical archive of an American history of trauma. By reading texts by Gayl Jones, Ralph Ellison, Franz Kafka; music and performances by Louis Armstrong and Billie Holiday; the life, art and films of Josephine Baker, and the film The Jazz Singer (1927), my goal is to give African American experiences of trauma a place within American trauma studies and to offer jazz as an extensive archive of testimony for witnessing and for study. Initially, I explore the pivotal historical moment where trauma and jazz converge on a groundbreaking scale, when Billie Holiday sings ―Strange Fruit‖ in 1939. This moment illuminates the fugitive alliance between American blacks and Jews in forming the historical testimony that is jazz. ―Strange Fruit,‖ written by Jewish American Abel Meeropol, and sung by Billie Holiday, evokes the trauma of lynching in an effort to protest the same. -
The Mercurian
The Mercurian : : A Theatrical Translation Review Volume 6, Number 4 (Fall 2017) Editor: Adam Versényi Editorial Assistant: Sarah Booker ISSN: 2160-3316 The Mercurian is named for Mercury who, if he had known it, was/is the patron god of theatrical translators, those intrepid souls possessed of eloquence, feats of skill, messengers not between the gods but between cultures, traders in images, nimble and dexterous linguistic thieves. Like the metal mercury, theatrical translators are capable of absorbing other metals, forming amalgams. As in ancient chemistry, the mercurian is one of the five elementary “principles” of which all material substances are compounded, otherwise known as “spirit”. The theatrical translator is sprightly, lively, potentially volatile, sometimes inconstant, witty, an ideal guide or conductor on the road. The Mercurian publishes translations of plays and performance pieces from any language into English. The Mercurian also welcomes theoretical pieces about theatrical translation, rants, manifestos, and position papers pertaining to translation for the theatre, as well as production histories of theatrical translations. Submissions should be sent to: Adam Versényi at [email protected] or by snail mail: Adam Versényi, Department of Dramatic Art, CB# 3230, The University of North Carolina at Chapel Hill, Chapel Hill, NC 27599-3230. For translations of plays or performance pieces, unless the material is in the public domain, please send proof of permission to translate from the playwright or original creator of the piece. Since one of the primary objects of The Mercurian is to move translated pieces into production, no translations of plays or performance pieces will be published unless the translator can certify that he/she has had an opportunity to hear the translation performed in either a reading or another production-oriented venue.