DOCSLIB.ORG

Masterarbeit / Master's Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Masterarbeit / Master's Thesis MASTERARBEIT / MASTER’S THESIS Titel der Masterarbeit / Title of the Master‘s Thesis „Voices, Dialog, and Life Writing: A Study of Biographical Texts about Nina Simone and Thelonious Monk“ verfasst von / submitted by Peter Georg Robin Heldt, B.A. angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien, 2019 / Vienna 2019 Studienkennzahl lt. Studienblatt / A 066 840 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Anglophone Literatures and Cultures degree programme as it appears on the student record sheet: Betreut von / Supervisor: Univ.-Prof. Mag. Dr. Alexandra Ganser-Blumenau Acknowledgments After years of studying and reading books, my journey finally comes to an end. My time at the University of Vienna has been inspiring and I am thankful for everyone who accompanied me along the way. At this point, I would like to thank my supervisor, Univ.-Prof. Mag. Dr. Alexandra Ganser-Blumenau, for her support and input. I would also like to express my gratitude for Professor Robin D. G. Kelley whose answers to my e-mail questionnaire were a valuable contribution to my work. I dedicate this thesis to my parents who always supported me and encouraged me to be curious, creative, and open-minded. Further, I would like to thank my brothers with whom I shared many laughter and who reminded me that life is not always serious business. I am deeply grateful for everything. Vienna, January 2019 Table of Contents 1. Introduction.............................................................................................................................1 2. Theorizing Biographies...........................................................................................................5 2.1 Life Writing and Biography Studies................................................................................6 2.2 Mikhail Bakhtin: Dialogism and Heteroglossia.............................................................12 2.3 Black Feminism and Intersectionality ...........................................................................17 3. Contextualizing Jazz Music..................................................................................................25 4. What Happened, Miss Simone?............................................................................................28 5. Thelonious Monk: The Life and Times of an American Original.........................................47 6. Comparison: Shared or Unique Experience?........................................................................68 7. Conclusion............................................................................................................................72 8. Bibliography..........................................................................................................................74 9. Appendix...............................................................................................................................77 9.1 E-mail Correspondence with Professor Robin D. G. Kelley..........................................77 9.2 Abstract German ............................................................................................................89 9.3 Abstract English.............................................................................................................90 1. Introduction Jazz music can imply a multitude of different meanings – it offers a space for cultural exchange, a way of exploring creative and intellectual ideas, and a reflection of the order and disorder which surrounds and influences the music. During the last century, the genre and its composers emerged and an increasing interest was paid to the artists, their music, and their lives. Consequently and not surprisingly, several autobiographies as well as biographies on jazz personalities have been published in recent years. Among these publications are the two biographies What Happened, Miss Simone?, written by Alan Light, and Thelonious Monk: The Life and Times of an American Original, written by Robin D. G. Kelley. Having read both books, I felt encouraged to engage in an academic analysis of both works in which I want to investigate how these biographies create and mediate their biographical subjects. The composition of the biographical text has evoked my curiosity since it incorporates historical accounts, textual descriptions of music, and the guiding voice of the author. This combination of sources suggests an approach connected to cultural studies, biography studies, and black feminism. I set out to explore how my primary sources construct a single narrative voice or incorporate multiple, possibly conflicting, voices. Further, the aim of my research is to analyze the relationship between the voice of the author, the mediated voice of his or her subject, and of a collective subject group, for example, of women, jazz musicians, or African Americans. Hopefully, my study will contribute to understand how readers and authors alike construct images of narrated lives in the 21st century. In addition to that, my thesis should answer the question how biographers negotiate a multitude of voices and what this indicates about current discourses on race, power, and gender. The idea behind the selection of my primary sources is to create a balance in terms of ethnicity and gender between the biographers and their subjects. The following chapters focus on theoretical ideas and concepts to approach the research topic, background information on jazz music, a thorough analysis of both primary sources, a comparison of the results, as well as a final and conclusive part. The theoretical chapter constitutes the foundation of my analysis and will cover approaches used in biography studies, Mikhail Bakhtin's ideas of dialogism and heteroglossia, along with black feminism and its concept of intersectionality. A short chapter about jazz will present information on the historical and social context of the genre as well as on an intergenerational dimension. Moreover, I will highlight how political protest and jazz are connected and how music, as a 1 cultural product, can work as a form of resistance against social and racial injustice. Subsequently, the following two chapters will link the theory to the biographies What Happened, Miss Simone? and Thelonious Monk: The Life and Times of an American Original. The results will then be compared and interpreted in order to highlight differences in the construction of the biographical subject. My research sets out to answer the question how current discourses of power, gender, and race are reflected and even reproduced in contemporary jazz biographies. In the last chapter, I will shortly summarize the main findings, insights, and results of my work. Before moving on to the theory part of the thesis, I want to use the remaining space of the introduction to discuss the present state of autobiography and biography studies. In their article “Introduction: Auto/Biography in Transit,” Jason Breiter, Orly Lael Natzer, Julie Rak, and Lucinda Rasmussen suggest that the research field of life writing is in a constant state of flux. Currently, scholars are concerned with numerous areas of research, “including the study of translation, migration, borders, displacement, and most recently, of online ways to construct and represent identities” (Breiter et al. vi). This quote reflects that technological progress along with a dynamic social environment have an effect on the research field which makes a fixed definition of research topics impractical. Further, these developments display that the construction of the self and ideas of representation can change through different circumstances. With regard to autobiographies and biographies, the authors state that “[t]he field of life writing has always recognized the importance of narrative forms, and that cultural producers make the lives they create, rather than simply represent them” (Breiter et al. vi). In that sense, biographers do not present or reflect the true self of a person but construct a textual persona which is shaped by linguistic choices and the interpretation of sources. “Looking Forward: The Futures of Auto | Biography Studies,” written by Emily Hipchen and Ricia Anne Chansky, is another article discussing developments in life writing studies. According to the authors, their publication should be understood as “a collaborative and inclusive dialogic space that gives established and emerging scholars from multiple disciplines the time and space to enter into lively discourse on [...] possible futures” (Hipchen and Chansky 139). This indicates that the future of the research field is shaped by an interdisciplinary and collaborative approach. Both articles agree on the fact that autobiography and biography studies are constantly developing. Writing about the 2 commercial aspect of publishing, Philip Holden regards “the worldly text not as a document to be read in isolation but as part of a large assemblage that includes processes of production, consumption and subjectification on a global scale” (Holden qtd. in Hipchen and Chansky 142)1. To gain a better understanding of the text and its interrelations, Holden proposes to investigate the context in which a biographical work is created. A book published by a university press, for example, might have a more scholarly preface or cover text than a book promoted by a commercial publishing house. This leads to the question of consumption and
Load more

Recommended publications
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • Maryland Historical Magazine, 1976, Volume 71, Issue No. 3
    AKfLAND •AZIN Published Quarterly by the Maryland Historical Society FALL 1976 Vol. 71, No. 3 BOARD OF EDITORS JOSEPH L. ARNOLD, University of Maryland, Baltimore County JEAN BAKER, Goucher College GARY BROWNE, Wayne State University JOSEPH W. COX, Towson State College CURTIS CARROLL DAVIS, Baltimore RICHARD R. DUNCAN, Georgetown University RONALD HOFFMAN, University of Maryland, College Park H. H. WALKER LEWIS, Baltimore EDWARD C. PAPENFUSE, Hall of Records BENJAMIN QUARLES, Morgan State College JOHN B. BOLES, Editor, Towson State College NANCY G. BOLES, Assistant Editor RICHARD J. COX, Manuscripts MARY K. MEYER, Genealogy MARY KATHLEEN THOMSEN, Graphics FORMER EDITORS WILLIAM HAND BROWNE, 1906-1909 LOUIS H. DIELMAN, 1910-1937 JAMES W. FOSTER, 1938-1949, 1950-1951 HARRY AMMON, 1950 FRED SHELLEY, 1951-1955 FRANCIS C. HABER 1955-1958 RICHARD WALSH, 1958-1967 RICHARD R. DUNCAN, 1967-1974 P. WILLIAM FILBY, Director ROMAINE S. SOMERVILLE, Assistant Director The Maryland Historical Magazine is published quarterly by the Maryland Historical Society, 201 W. Monument Street, Baltimore, Maryland 21201. Contributions and correspondence relating to articles, book reviews, and any other editorial matters should be addressed to the Editor in care of the Society. All contributions should be submitted in duplicate, double-spaced, and consistent with the form out- lined in A Manual of Style (Chicago: University of Chicago Press, 1969). The Maryland Historical Society disclaims responsibility for statements made by contributors. Composed and printed at Waverly Press, Inc., Baltimore, Maryland 21202,. Second-class postage paid at Baltimore, Maryland. © 1976, Maryland Historical Society. 6 0F ^ ^^^f^i"^^lARYLA/ i ^ RECORDS LIBRARY \9T6 00^ 26 HIST NAPOLIS, M^tl^ND Fall 1976 #.
    [Show full text]
  • 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.
    [Show full text]
  • Writing a Revolution Intersection and Fracture in Women’S Activist Material
    Writing a Revolution Intersection and Fracture in Women’s Activist Material 121 E. Union St., Pasadena, Ca 91103 · Tel. (626) 714-7720 [email protected] www.WhitmoreRareBooks.com Books Termsmay be reserved by email: [email protected] and by phone: (626) 714-7720 We welcome you to visit our shop by appointment during normal business hours: 121 E. Union St., Pasadena, Ca 91103 For our complete inventory, including many first editions, signed books and other rare items, please visit our website at: www.WhitmoreRareBooks.com Follow us on social media! @WRareBooks @whitmorerarebooks whitmorerarebooks The History of Woman Suffrage, First edition presented by Susan B. Anthony to Marilla Ricker (Volumes I-VI), p. 13. 4 Introduction “To be militant in some way or other is a moral obligation. It is a duty which every woman will owe to her own conscience, to other women who are less fortunate than she is herself, and to all those who are to come after her.” -Emmeline Pankhurst The women activists of the past undeniably laid the groundwork for the revolutions we’re experiencing in our own time. In speaking out, protesting, exposing discrimination, and fighting for equality, they propelled us forward. Yet the documents of the past also show that some of our current upheaval comes from their failures—most frequently from the exclusion of women who didn’t share in the same privileges of race, gender identity, sexual orientation, or economic class. The materials gathered here are therefore both celebratory and chastening. As we continue the push to ensure that more voices are heard in our shop, more identities and contributions represented on our shelves, we see Writing a Revolution as a chance to promote a complex and intersectional women’s history.
    [Show full text]
  • Women's Hit Cheating Songs: Country Music and Feminist Change in American Society, 1962-2015 Madeline Rachel Morrow University of Denver
    University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2017 Women's Hit Cheating Songs: Country Music and Feminist Change in American Society, 1962-2015 Madeline Rachel Morrow University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons, Music Commons, and the Women's History Commons Recommended Citation Morrow, Madeline Rachel, "Women's Hit Cheating Songs: Country Music and Feminist Change in American Society, 1962-2015" (2017). Electronic Theses and Dissertations. 1258. https://digitalcommons.du.edu/etd/1258 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. WOMEN’S HIT CHEATING SONGS: COUNTRY MUSIC AND FEMINIST CHANGE IN AMERICAN SOCIETY, 1962-2015 __________ A Thesis Presented to the Faculty of Arts and Humanities University of Denver __________ In Partial Fulfillment of the requirements for the Degree Master of Arts __________ by Madeline Rachel Morrow June 2017 Advisor: John J. Sheinbaum ©Copyright by Madeline Rachel Morrow 2017 All Rights Reserved Author: Madeline Rachel Morrow Title: WOMEN’S HIT CHEATING SONGS: COUNTRY MUSIC AND FEMINIST CHANGE IN AMERICAN SOCIETY, 1962-2015 Advisor: John J. Sheinbaum Degree Date: June 2017 ABSTRACT This thesis examines songs about cheating performed by women in country music that appeared on year-end country songs charts in Billboard magazine from 1962 through 2015.
    [Show full text]
  • Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast
    DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin
    [Show full text]
  • The Single Woman, Feminism, and Self-Help
    On Their Own: The Single Woman, Feminism, and Self-Help in British Women’s Print Culture (1850-1900) by Melissa Walker A Thesis presented to The University of Guelph In partial fulfillment of requirements for the degree of Doctor of Philosophy in English and Theatre Studies Guelph, Ontario, Canada © Melissa Walker, May, 2012 ABSTRACT ON THEIR OWN: THE SINGLE WOMAN, FEMINISM, AND SELF-HELP IN BRITISH WOMEN’S PRINT CULTURE (1850-1900) Melissa Walker Advisor University of Guelph, 2012 Susan Brown Cultural and historical accounts of self-help literature typically describe its development and focus in terms of the autonomous, public male subject of the nineteenth century. This literary study recognizes that as masculine self-help discourse became widely accessible in the mid nineteenth century, mid-Victorian feminist novels, periodicals, and tracts developed versions of self-help that disrupted the dominant cultural view that the single female was helpless and “redundant” if she did not become a wife and mother. I argue that the dual focus of Victorian self-help discourse on the ability to help oneself and others was attractive for Victorian feminist writers who needed to manipulate the terms of the domestic ideal of woman as influential helpmeet, if women’s independence and civic duty were to be made culturally palatable. Chapter One focuses on how Dinah Mulock Craik drew on self-help values popularized in mid-century articles and collective biographies by Samuel Smiles, while rejecting the genre of biography for its invasiveness into female lives. By imagining a deformed single artist heroine in the context of her 1851 bildungsroman, Olive, Craik highlighted and contested the objectification of women within Victorian culture while reproducing other forms of female difference based on dominant constructions of class, sexuality, and race.
    [Show full text]
  • PRODUCTION NOTES Re-Emerging Films Amazingninadoc 310-869-4686 Amazingnina.Com [email protected]
    “Today Simoneʼs multitudinous identity captures the mood of young people yearning to bring together our modern movements for racial, gender and sexual equality. This is a large part of the appeal of the documentary “The Amazing Nina Simone,” by Jeff L. Lieberman, which features more than 50 interviews with Simoneʼs family, associates and academics.” nina simGSPoNX3*5&3 ne "%0$6.&/5"3:'*-. E*3&$503 +&''--*&#&3."/ PRODUCTION NOTES Re-Emerging Films amazingninadoc 310-869-4686 amazingnina.com [email protected] PRODUCTION NOTES Much beloved and often misunderstood, the story of America’s most overlooked musical genius is finally brought to light in “The Amazing Nina Simone.” Director Jeff L. Lieberman (”Re-Emerging: The Jews of Nigeria”) brings audiences on Nina’s journey from the segregated South, through the worlds of classical music, jazz joints & international concert halls. Navigating through the twists & turns of the 1960’s fight for racial equality, the film delves deep into Nina’s artistry and intentions, answering long-held questions behind Nina’s most beloved songs, bold style, controversial statements, and the reason she left America. "The Amazing Nina Simone" is the only documentary film to tell the story of the singer, songwriter, pianist and activist, through over 50 exclusive and intimate interviews with the people who knew Nina best: her friends, family, musicians and fellow activists, including Eric Burdon (The Animals), Sam Waymon (Nina’s Brother & Longtime Band Member), Nikki Giovanni (Poet, Professor & Friend) & Marie Christine Dunham-Pratt (Nina's Lover & Friend). Re-Emerging Films, 2015, USA, 105 Minutes Official Website: www.amazingnina.com Press Contact: Jeff L.
    [Show full text]
  • Oscarssowhite & the Problem of Women Musicians on Film
    Cover: Pat O’Neill Untitled (shades) 1974 35 mm film mounted in glass, straight-grain Douglas fir wood frame 23 x 17 inches Table of Contents Anna Shechtman: Introduction Daphne Brooks: “Ain’t Got No, I Got Life”: #OscarsSoWhite & the Problem of Women Musicians on Film Jerome Christensen: Pure as Jesus and Cunning as Satan K. Austin Collins: Stakes Is High: On Spike Lee’s Chi-Raq J.D. Connor: Making Things Right: Star Wars Episode VII: The Force Awakens Derek Nystrom: Of Christians and Communists: Joel and Ethan Coen’s Hail, Caesar! — INTRODUCTION — Hollywood’s Self-Critique: Five Essays on Race and Class at the Movies Chris Rock’s monologue at this year’s Academy Awards — in which he called Hollywood “sorority racist” and the event itself the “White People’s Choice Awards” — was deceptively consistent with the industry’s own self-critique featured in many of this year’s top-grossing and critically acclaimed films. Hollywood, it seems, has learned to parry generic attacks on the industry’s sexism, racism, and classism with genre films that keep the system well oiled and, perhaps, the critics at bay. The five essays featured in this collection concern films that seek absolution for the industry’s consistently unsavory politics by addressing Hollywood’s politically incorrect history in their stories or backstories. Indeed, these are mostly historical films that depict racial protest and class warfare from the perspective of an industry that continually finds itself on the wrong side of American history when it comes to issues of race and class. Jerome Christensen writes about Trumbo, a biopic about Hollywood’s most successful blacklisted screenwriter, and a film whose producers nonetheless obfuscate its own shady production history.
    [Show full text]
  • Aaron SACHS: Frank SACKENHEIM: Erna SACK: Fats SADI
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Aaron SACHS: "Clarinet & Co" Phil Sunkel, Bernie Glow -tp; Frank Rehak -tb; AARON SACHS -cl,ts; Gene Allen -bs; Nat Pierce - p; Aaron Bell -b; Osie Johnson -d; recorded February 18 and 21, 1957 in New York 33134 RONDO BLUES 3.45 Rama RLP 1004 33135 JUST SICK BLUES 2.54 --- 33136 BLUE SOPHISTICATE 4.02 --- 33137 CONVERSATION 2.39 --- 33138 MONA'S KIMONA 4.01 --- 33139 COUNTRYFIELD 3.46 --- 33140 WIGGINS 3.26 --- Aaron Sachs -cl,ts; Hal Overton -p; Jimmy Raney -g; Aaron Bell -b; Osie Johnson -d; recorded March 04, 1957 in New York 33141 GORME HAS HER DAY 3.07 --- 33142 I CAN'T BELIEVE 2.58 --- 33143 HAL'S LOFT 2.43 --- 33144 NANCY 3.22 --- ------------------------------------------ Frank SACKENHEIM: "WDR3:Jazz.Cologne" Frank Sackenheim Trio: Frank Sackenheim -ts; Henning Gailing -b; Jonas Burgwinkel -d; recorded July 10, 2005 in Funkhaus Wallrafplatz, Köln 77097 DEIN IST MEIN GANZES HERZ 7.55 Aircheck 77098 L.O.V.E. 5.22 --- 77099 RED ROSES 8.16 --- 77100 SPEAK LOW 11.40 --- 77101 ICH BIN VON KOPF BIS FUSS AUF LIEBE EINGESTELLT 7.53 --- 77102 GAMES THAT LOVERS PLAY 8.05 --- ------------------------------------------ Erna SACK: Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded August 30, 1934 in Berlin 107685 WENN SICH EINE SCHÖNE FRAU VERLIEBT 3.30 19991-1 Tel A1676 Sopran: Kammersängerin Erna Sack mit Orchester; Dirigent: Hans Bund; recorded October 1934 in Berlin 107121 ICH BIN VERLIEBT 3.32 19990 --- aus der Operette "Clivia" Erna Sack war eine der bedeutendsten Sopranistinnen Deutschlands im 20.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not se^d UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wiU indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this co^r for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Com pany 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Nimiber 9505207 E v a Gouzalès (1849— 1.883): A n examination of the artist’s style and subject matter.
    [Show full text]
  • What Happened, Miss Simone? Discussion Guide
    www.influencefilmclub.com What Happened, Miss Simone? Discussion Guide Director: Liz Garbus Year: 2015 Time: 101 min You might know this director from: Love, Marilyn (2012) Bobby Fischer Against the World (2011) Shouting Fire: Stories from the Edge of Free Speech (2009) Yo soy Boricua, pa’que tu lo sepas! (2006) Girlhood (2003) The Nazi Officer’s Wife (2003) The Execution of Wanda Jean (2002) FILM SUMMARY Many a soul has waxed lyrical on the impact and artistry of Nina Simone, her “coffee and cream” voice, her poignant lyrics, her political engagement, her womanhood. In an effort to reveal the whole human picture of this wonderfully real woman, WHAT HAPPENED, MISS SIMONE? devotes itself to both the dark and the light in her 70-year-long life journey. As the director of Netflix’s first original commissioned documentary, Liz Garbus searched for every piece of evidence connected to Nina Simone. Collecting audio material, video footage, diary entries, and sitting down with those who knew Simone in her most intimate guises - including her daughter Lisa Simone Kelly, her long- time guitarist Al Schackman, and Malcolm X’s daughter Ambassador Shabazz - Garbus pieces together an emotionally raw, musically diverse, and psychologically intense perspective on the effervescent Nina Simone. Whether a long-time lover of Simone or someone to have stumbled across this documentary in Netflix’s offerings, WHAT HAPPENED, MISS SIMONE? appeals to sensibilities and sensitivities across a wide range of interests. From her involvement in the civil rights movement of 1960’s U.S.A. to her battle with manic depression and physical abuse - both received and delivered - Simone lived life to the fullest.
    [Show full text]