Strange Fruit
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And I Heard 'Em Say: Listening to the Black Prophetic Cameron J
Claremont Colleges Scholarship @ Claremont Pomona Senior Theses Pomona Student Scholarship 2015 And I Heard 'Em Say: Listening to the Black Prophetic Cameron J. Cook Pomona College Recommended Citation Cook, Cameron J., "And I Heard 'Em Say: Listening to the Black Prophetic" (2015). Pomona Senior Theses. Paper 138. http://scholarship.claremont.edu/pomona_theses/138 This Open Access Senior Thesis is brought to you for free and open access by the Pomona Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pomona Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. 1 And I Heard ‘Em Say: Listening to the Black Prophetic Cameron Cook Senior Thesis Class of 2015 Bachelor of Arts A thesis submitted in partial fulfillment of the Bachelor of Arts degree in Religious Studies Pomona College Spring 2015 2 Table of Contents Acknowledgements Chapter One: Introduction, Can You Hear It? Chapter Two: Nina Simone and the Prophetic Blues Chapter Three: Post-Racial Prophet: Kanye West and the Signs of Liberation Chapter Four: Conclusion, Are You Listening? Bibliography 3 Acknowledgments “In those days it was either live with music or die with noise, and we chose rather desperately to live.” Ralph Ellison, Shadow and Act There are too many people I’d like to thank and acknowledge in this section. I suppose I’ll jump right in. Thank you, Professor Darryl Smith, for being my Religious Studies guide and mentor during my time at Pomona. Your influence in my life is failed by words. Thank you, Professor John Seery, for never rebuking my theories, weird as they may be. -
AN ANALYSIS of the MUSICAL INTERPRETATIONS of NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 a THESIS S
AN ANALYSIS OF THE MUSICAL INTERPRETATIONS OF NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 A THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2010 Approved by: Major Professor Dale Ganz Copyright JESSIE L. FREYERMUTH 2010 Abstract Nina Simone was a prominent jazz musician of the late 1950s and 60s. Beyond her fame as a jazz musician, Nina Simone reached even greater status as a civil rights activist. Her music spoke to the hearts of hundreds of thousands in the black community who were struggling to rise above their status as a second-class citizen. Simone’s powerful anthems were a reminder that change was going to come. Nina Simone’s musical interpretation and approach was very unique because of her background as a classical pianist. Nina’s untrained vocal chops were a perfect blend of rough growl and smooth straight-tone, which provided an unquestionable feeling of heartache to the songs in her repertoire. Simone also had a knack for word painting, and the emotional climax in her songs is absolutely stunning. Nina Simone did not have a typical jazz style. Critics often described her as a “jazz-and-something-else-singer.” She moved effortlessly through genres, including gospel, blues, jazz, folk, classical, and even European classical. Probably her biggest mark, however, was on the genre of protest songs. Simone was one of the most outspoken and influential musicians throughout the civil rights movement. Her music spoke to the hundreds of thousands of African American men and women fighting for their rights during the 1960s. -
Kronos Quartet Performing Three from Its Fifty for the Future Initiative, Including the World Premiere of New Work by Anna Meredith
CONTACT: Louisa Spier Jeanette Peach Cal Performances Cal Performances (510) 643-6714 (510) 642-9121 [email protected] [email protected] FOR IMMEDIATE RELEASE: November 10, 2016 Press Room CAL PERFORMANCES AT UC BERKELEY PRESENTS KRONOS QUARTET PERFORMING THREE FROM ITS FIFTY FOR THE FUTURE INITIATIVE, INCLUDING THE WORLD PREMIERE OF NEW WORK BY ANNA MEREDITH COMMEMORATING THE CENTENNIAL OF THE ARMENIAN GENOCIDE, MARY KOUYOUMDJIAN’S SILENT CRANES RECEIVES BAY AREA PREMIERE SATURDAY, DECEMBER 3, 2016 Berkeley, November 10, 2016 — Cal Performances welcomes back the Kronos Quartet for a concert featuring three works by composers from Fifty for the Future: The Kronos Learning Repertoire, on Saturday, December 3, at 8pm in Zellerbach Hall. Through its Fifty for the Future initiative, Kronos is commissioning a collection of 50 new works—10 per year for five years—from an eclectic group of 50 composers (25 men and 25 women); the new works explore contemporary approaches to the string quartet, designed for student players and emerging professional ensembles. Cal Performances is a major project partner for Fifty for the Future, which aligns closely with its Berkeley RADICAL initiative to cultivate artistic literacy in future generations. Of Fifty for the Future, Kronos Quartet artistic director, violinist and founder David Harrington told NPR, “What I hope will happen is that the art form is just going to expand. And the explorations that will be possible from this body of work will just bring a lot of new energy into the field.” The score for each of Kronos’ Fifty for the Future commissions will be made available to musicians free of charge, along with accompanying digital learning materials, recordings, and performance notes. -
European Journal of American Studies, 11-2 | 2016, « Summer 2016 » [En Ligne], Mis En Ligne Le 11 Août 2016, Consulté Le 08 Juillet 2021
European journal of American studies 11-2 | 2016 Summer 2016 Édition électronique URL : https://journals.openedition.org/ejas/11535 DOI : 10.4000/ejas.11535 ISSN : 1991-9336 Éditeur European Association for American Studies Référence électronique European journal of American studies, 11-2 | 2016, « Summer 2016 » [En ligne], mis en ligne le 11 août 2016, consulté le 08 juillet 2021. URL : https://journals.openedition.org/ejas/11535 ; DOI : https:// doi.org/10.4000/ejas.11535 Ce document a été généré automatiquement le 8 juillet 2021. Creative Commons License 1 SOMMAIRE The Land of the Future: British Accounts of the USA at the Turn of the Nineteenth Century David Seed The Reader in It: Henry James’s “Desperate Plagiarism” Hivren Demir-Atay Contradictory Depictions of the New Woman: Reading Edith Wharton’s The Age of Innocence as a Dialogic Novel Sevinc Elaman-Garner “Nothing Can Touch You as Long as You Work”: Love and Work in Ernest Hemingway’s The Garden of Eden and For Whom the Bell Tolls Lauren Rule Maxwell People, Place and Politics: D’Arcy McNickle’s (Re)Valuing of Native American Principles John L. Purdy “Why Don’t You Just Say It as Simply as That?”: The Progression of Parrhesia in the Early Novels of Joseph Heller Peter Templeton “The Land That He Saw Looked Like a Paradise. It Was Not, He Knew”: Suburbia and the Maladjusted American Male in John Cheever’s Bullet Park Harriet Poppy Stilley The Writing of “Dreck”: Consumerism, Waste and Re-use in Donald Barthelme’s Snow White Rachele Dini The State You’re In: Citizenship, Sovereign -
The Field Guide to Sponsored Films
THE FIELD GUIDE TO SPONSORED FILMS by Rick Prelinger National Film Preservation Foundation San Francisco, California Rick Prelinger is the founder of the Prelinger Archives, a collection of 51,000 advertising, educational, industrial, and amateur films that was acquired by the Library of Congress in 2002. He has partnered with the Internet Archive (www.archive.org) to make 2,000 films from his collection available online and worked with the Voyager Company to produce 14 laser discs and CD-ROMs of films drawn from his collection, including Ephemeral Films, the series Our Secret Century, and Call It Home: The House That Private Enterprise Built. In 2004, Rick and Megan Shaw Prelinger established the Prelinger Library in San Francisco. National Film Preservation Foundation 870 Market Street, Suite 1113 San Francisco, CA 94102 © 2006 by the National Film Preservation Foundation Library of Congress Cataloging-in-Publication Data Prelinger, Rick, 1953– The field guide to sponsored films / Rick Prelinger. p. cm. Includes index. ISBN 0-9747099-3-X (alk. paper) 1. Industrial films—Catalogs. 2. Business—Film catalogs. 3. Motion pictures in adver- tising. 4. Business in motion pictures. I. Title. HF1007.P863 2006 011´.372—dc22 2006029038 CIP This publication was made possible through a grant from The Andrew W. Mellon Foundation. It may be downloaded as a PDF file from the National Film Preservation Foundation Web site: www.filmpreservation.org. Photo credits Cover and title page (from left): Admiral Cigarette (1897), courtesy of Library of Congress; Now You’re Talking (1927), courtesy of Library of Congress; Highlights and Shadows (1938), courtesy of George Eastman House. -
Open Steinle Cory Kanyecriticism.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF COMMUNICATION ARTS & SCIENCES “I THOUGHT ABOUT KILLING YOU”: CONSIDERING THE UTILITY OF RHETORICAL AND BIOGRAPHICAL CRITICAL APPROACHES TO KANYE WEST’S YE CORY N. STEINLE SPRING 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Communication Arts and Sciences and Labor and Employment Relations with honors in Communication Arts and Sciences Reviewed and approved* by the following: Bradford Vivian Professor of Communication Arts & Sciences Thesis Supervisor Lori Bedell Associate Teaching Professor in Communication Arts & Sciences Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT This paper examines the merits of intrinsic and extrinsic critical approaches to hip-hop artifacts. To do so, I provide both a neo-Aristotelian and biographical criticism of three songs from ye (2018) by Kanye West. Chapters 1 & 2 consider Roland Barthes’ The Death of the Author and other landmark papers in rhetorical and literary theory to develop an intrinsic and extrinsic approach to criticizing ye (2018), evident in Tables 1 & 2. Chapter 3 provides the biographical antecedents of West’s life prior to the release of ye (2018). Chapters 4, 5, & 6 supply intrinsic (neo-Aristotelian) and extrinsic (biographical) critiques of the selected artifacts. Each of these chapters aims to address the concerns of one of three guiding questions: which critical approaches prove most useful to the hip-hop consumer listening to this song? How can and should the listener construct meaning? Are there any improper ways to critique and interpret this song? Chapter 7 discusses the variance in each mode of critical analysis from Chapters 4, 5, & 6. -
Billie Holiday, “Strange Fruit” (1939)
Billie Holiday, “Strange Fruit” (1939) “Strange Fruit” was written by Abel Meeropol, a white English teacher from New York City, as a protest against the horrors of lynching. Lynching was a practice that involved mob-style execution without trial, most often by hanging, and almost exclusively of African Ameri- cans. Thousands of African Americans were lynched between the end of the Civil War and the 1960s. In spite of the efforts of anti-lynching crusaders such as Ida B. Wells beginning in the 1880s, lynching was never directly addressed by the federal government until the Justice for Lynching Act was passed on December 19, 2018, making lynching a federal crime. Jazz great Billie Holiday recorded “Strange Fruit” in 1939. Her recording company, Columbia Records, re- fused to release it, fearing the response in the South. So Holiday released the al- bum with the Commodore label, where it would go on to become her best-sell- ing record. With its harsh indictment of the Jim Crow south, the song enjoyed a revival during the Civil Rights movement, and has been covered by numerous artists in the years since. Lyric Excerpt Southern trees bear a strange fruit, Blood on the leaves and blood at the root Black bodies swinging in the southern breeze, Strange fruit hanging from the poplar trees Pastoral scene of the gallant south The bulging eyes and the twisted mouth Scent of magnolias, sweet and fresh Then the sudden smell of burning flesh Here is fruit for the crows to pluck For the rain to gather, for the wind to suck For the sun to rot, for the trees to drop Here is a strange and bitter crop. -
“I Know That We the New Slaves”: an Illusion of Life Analysis of Kanye West’S Yeezus
1 “I KNOW THAT WE THE NEW SLAVES”: AN ILLUSION OF LIFE ANALYSIS OF KANYE WEST’S YEEZUS A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS BY MARGARET A. PARSON DR. KRISTEN MCCAULIFF - ADVISOR BALL STATE UNIVERSITY MUNCIE, INDIANA MAY 2017 2 ABSTRACT THESIS: “I Know That We the New Slaves”: An Illusion of Life Analysis of Kanye West’s Yeezus. STUDENT: Margaret Parson DEGREE: Master of Arts COLLEGE: College of Communication Information and Media DATE: May 2017 PAGES: 108 This work utilizes an Illusion of Life method, developed by Sellnow and Sellnow (2001) to analyze the 2013 album Yeezus by Kanye West. Through analyzing the lyrics of the album, several major arguments are made. First, Kanye West’s album Yeezus creates a new ethos to describe what it means to be a Black man in the United States. Additionally, West discusses race when looking at Black history as the foundation for this new ethos, through examples such as Dr. Martin Luther King Jr. and Nina Simone’s rhetoric, references to racist cartoons and movies, and discussion of historical events such as apartheid. West also depicts race through lyrics about the imagined Black male experience in terms of education and capitalism. Second, the score of the album is ultimately categorized and charted according to the structures proposed by Sellnow and Sellnow (2001). Ultimately, I argue that Yeezus presents several unique sounds and emotions, as well as perceptions on Black life in America. 3 Table of Contents Chapter One -
Strange Fruit John 12:20-33 a Sermon Preached in Duke University Chapel on March 22, 2015 by the Rev
Strange Fruit John 12:20-33 A Sermon preached in Duke University Chapel on March 22, 2015 by the Rev. Dr. Luke A. Powery Jesus said, “…unless a grain of wheat falls into the earth and dies, it remains just a single grain; but if it dies, it bears much fruit.” John has brought us to a place that we may not want to be today. It is clearly the time when the Passover is approaching. Right before our lesson, John mentions the Passover for the third time in his gospel (11:55, 12:1; cf. 2:13, 23; 6:4) like a theological-musical motif that continues to ring in our ears if we are paying attention. Maybe we missed it because we stayed up too late watching the NCAA basketball tournament. Maybe we missed it because we don’t really want to deal with it. We don’t really want to deal with the fact of the Passover, which is the fact of death that is a part of a religion of life. But before we come down too hard on John for not making this Lenten season light and fluffy, let’s remind ourselves that each Sunday we process into a chapel building that is cruciform—it is an architectural form of death. Duke Chapel is in the shape of a cross, which historically has been a tool of execution, a device of death. We worship under the shadow of death. If you perform the sign of the cross, you perform your life’s death sentence for the sake of Christ. -
The United States Vs Billie Holiday
THE UNITED STATES VS BILLIE HOLIDAY Screenplay by Suzan-Lori Parks Based on the Book, “Chasing the Scream” by Johann Hari FINAL PICTURE SCRIPT OVER BLACK: IN 1937, A BILL TO FINALLY BAN THE LYNCHING OF AFRICAN- AMERICANS WAS CONSIDERED BY THE SENATE. IT DID NOT PASS. BILLIE HOLIDAY ROSE TO FAME IN PART DUE TO HER SONG STRANGE FRUIT, A LYRICAL, HORRIFYING DESCRIPTION OF A LYNCHING. FADE IN: NEW YORK CITY MAY 3, 1957 A1 INT. TBD JANKY APARTMENT/RADIO STATION - NIGHT A1 BILLIE, strung out, but dressed to the nines, forces a smile as she sits for an interview with REGINALD LORD DEVINE - an aging white gossip columnist. Think Skip E. Lowe. MISS FREDDY, her devoted stylist, stands by watching. Reginald grabs an item from his bar, sets it on his desk next to the recorder, then places the microphone on top of it. REGINALD DEVINE I’m going to put this up here so I can get both of us. Reginald then starts recording. Reginald and Billie both have drinks. REGINALD DEVINE (CONT'D) My next guest has played Broadway. She’s sold out Carnegie Hall. She played in Hollywood movies opposite the likes of Louis Armstrong. I am Reginald Lord Devine - and oh my god. Oh my god. I can’t believe we have the opportunity to interview, as I live and breathe, the legend, the lady, my hero - Miss Billie Holiday, Miss Lady Day. Which do you prefer, honey? FREDDY She’d prefer you pay her her money first. Reginald grabs the cash from his desk drawer, hands it over to Freddy. -
Spoken Word & Poetry for Civil Rights
Spoken Word & Poetry for Civil Rights Maya Angelou: Still I Rise An empowering performance about the struggle to overcome prejudice and injustice. It is one of Maya Angelou's most successful poems. Nikki Giovanni: In The Spirit of Martin Nikki Giovanni gained initial fame in the late 1960s as one of the foremost authors of the Black Arts Movement. Influenced by the Civil Rights Movement and Black Power Movement of the period, her early work provides a strong, militant African-American perspective, leading one writer to dub her the "Poet of the Black Revolution". Leah Green: Change Spoken word artist and student Leah Green’s poem called "Change," about civil rights, equality and American democracy. This poem was written and performed shortly after the inauguration of Barack Obama. Crystal Valentine: "Black Privilege" (strong language) Crystal Valentine is a writer, activist, and educator. A recent graduate of NYU, Crystal is the three-time Grand Slam champion of NYU’s poetry contest. She was also the 2015 NYC youth poet laureate and the 9th ranked woman poet in the world by Way of the Woman of the World Poetry Slam. For more civil rights poetry and spoken word: https://www.poetryfoundation.org/collections/146367/poetry-and-the-civil-rights-movement Songs for Civil Rights Mahalia Jackson: We Shall Overcome This song was made as a protest song, and became a staple song during the Civil Rights Movement. The song derived from a previous gospel song by Charles Albert Tindley. Billie Holiday: Strange Fruit This song is performed most famously by Billie Holiday, who first sang and recorded it in 1939. -
52Issue November 2019
Issue 52 November 2019 Issue 52 ONLINE www.thecutmagazine.com FACEBOOK www.facebook.com/TheCutMagazine ADDRESS The Cut Magazine 5000 Forbes Avenue UC Box 122 Pittsburgh, PA 15238 COVER PHOTO Michelle Ng November 2019 Editor-in-Chief Trevor Lazar Assistant Editor Jamie McArthur Digital Media Chair Cassandra Scheirer PR Editor CJ Rosado Issue 52 Design Editor Michelle Ng Letter Copy Editor Greta Markey From Writing Staff Aysha Zackria Claudia Osorio Daniel Yeh The Divya Viswanathan Eliza Hallinan Gavin Grnja Natalie Jarrett Editor Omasan Richardson Shambhavi Mishra Zofia Majewski The summer is clinging on We’ve got a brand new for dear life here in Pittsburgh, website, some renewed social but The Cut is looking ahead. media, and a whole lot of Design Staff Ajunie Virk We’ve got some amazing new excitement. Looking ahead, Erin Lee voices here, especially first- we’ve got a backlog of amazing Jennifer Shin years. Our collective music mixtape ideas that might find Shai Bhardwaj taste is always shifting, always their way into future issues. Teresa Lourie at odds with itself. The heat This group of writers, editors, has kept us in rooms with A/C designers, and artists have put and fluorescent lights, but their heart and soul into this Photo/Art Staff Aysha Zackria we’ve been going everywhere. issue. And we’re just getting Claudio Osorio started. Jennifer Shin We’ve hit tons of killer shows, talked to some amazing I couldn’t be prouder to artists, and written some present Issue 52. hilarious, poignant, and absurd articles. Some of my personal favorite this time Trevor Lazar around include a breakdown Editor-in-Chief Letter of better Charlie’s Angels trios, a synesthesia mixtape, and a new column called “My Shazams” from Divya From Viswanathan.