IN: "Ode to Billie Joe" is a 1967 song written and recorded by Bobbie Gentry, a singer-songwriter from Chickasaw County, Mississippi. The single, released in late July, was a number-one hit in the United States, and became a big international seller. Billboard ranked the record as the No. 3 song for 1967 (the other two were #2 "The Letter" by the Box Tops and #1 "To Sir With Love" by Lulu). The song is ranked #412 on Rolling Stone's list of "the 500 Greatest Songs of All Time" and at #144 in Pitchfork's 200 Best Songs of the 1960s.

The song is a first-person narrative to "sparse"  musical accompaniment. It reveals a tale, mostly in the form of brief dialog extracts by the narrator's family at dinnertime, on the day that a local boy - and apparently friend of the narrator - jumped to his death from a nearby bridge. Throughout the song, the suicide and other tragedies are contrasted against the banality of everyday routine and polite conversation. The final verse conveys the quick passage of events and other deaths in a year's time.  The song begins with the narrator, her brother and her father returning, after agricultural morning chores, to the family house for dinner (on June 3). After cautioning them about tracking in dirt, "Mama" says that she "got some news this mornin' from Choctaw Ridge" that "Billie Joe McAllister jumped off the Tallahatchie Bridge".  At the dinner table, the narrator's father appears unmoved and almost dismissive; he comments that "Billie Joe never had a lick o' [meaning, any] sense", and asks for the biscuits to be passed to him, and comments that he has "five more acres in the lower forty" to plow. Her brother seems somewhat taken aback ("I saw him at the sawmill yesterday ... And now you tell me Billie Joe has jumped off the Tallahatchie Bridge"), but follows the comment by asking for a second slice of pie. He recalls a prank that he and his friends played on the narrator, and that he saw her and Billie Joe talking after church a few days previously.  The only person who seems genuinely upset is the narrator. Her mother - who eventually notices the narrator's abrupt and complete change of mood at the news - seems unable to realize she is affected by the news ("Child, what's happened to your appetite? I been cookin' all mornin' and you haven't touched a single bite"). She shares other news instead, that a local preacher visited earlier in the day, and almost as an aside, that the preacher had mentioned seeing Billie Joe and a girl who looked very much like the narrator herself "throwin' somethin' off the Tallahatchie Bridge" - the object they were throwing is not identified. But again, the narrator's mother fails to connect this in any way to her daughter's emotional distress.  In the song's final verse, a year has passed, and brought more harm and pain. The narrator's brother has married Becky Thompson, but they have moved away to another town ("bought a store in Tupelo"). Their father died from an unspecified viral infection, and their mother has been depressed and despondent, and "doesn't seem to wanna do much of anything". The narrator is also affected by the malaise; the main change she describes in her own life, is that she often visits Choctaw Ridge and picks flowers there to drop from the Tallahatchie Bridge into the murky waters of the river where Billy Joe jumped to his death.
QUESTION: Why did he jump?
IN: Walter Bendix Schonflies Benjamin (German: ['valta 'benjami:n]; 15 July 1892 - 26 September 1940) was a German Jewish philosopher, cultural critic and essayist. An eclectic thinker, combining elements of German idealism, Romanticism, Western Marxism, and Jewish mysticism, Benjamin made enduring and influential contributions to aesthetic theory, literary criticism, and historical materialism.

Theses on the Philosophy of History is often cited as Benjamin's last complete work, having been completed, according to Adorno, in the spring of 1940. The Institute for Social Research, which had relocated to New York, published Theses in Benjamin's memory in 1942. Margaret Cohen writes in the Cambridge Companion to Walter Benjamin:  In the "Concept of History" Benjamin also turned to Jewish mysticism for a model of praxis in dark times, inspired by the kabbalistic precept that the work of the holy man is an activity known as tikkun. According to the kabbalah, God's attributes were once held in vessels whose glass was contaminated by the presence of evil and these vessels had consequently shattered, disseminating their contents to the four corners of the earth. Tikkun was the process of collecting the scattered fragments in the hopes of once more piecing them together. Benjamin fused tikkun with the Surrealist notion that liberation would come through releasing repressed collective material, to produce his celebrated account of the revolutionary historiographer, who sought to grab hold of elided memories as they sparked to view at moments of present danger.  In the essay, Benjamin's famed ninth thesis struggles to reconcile the Idea of Progress in the present with the apparent chaos of the past:  A Klee painting named Angelus Novus shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.  The final paragraph about the Jewish quest for the Messiah provides a harrowing final point to Benjamin's work, with its themes of culture, destruction, Jewish heritage and the fight between humanity and nihilism. He brings up the interdiction, in some varieties of Judaism, to try to determine the year when the Messiah would come into the world, and points out that this did not make Jews indifferent to the future "for every second of time was the strait gate through which the Messiah might enter."
QUESTION:
What's important about the Theses on the Philosophy of History?