11 10 650 https://digitallis.isg.siue.edu/files/original/390ce47523ae882bb6204655383b91aa.pdf c0535edd5626c4a351cad7a91ffb0dc1 PDF Text Text B. RE DMOND, a native of East St. Louis, Illinois, is a graduate of Southern Illino~s University and \Vashington Uni\·ersity (St. Loms) _a~d !!as achieved distinction in several areas of wntmg, mcluding poetry, dram3, journalism, and cf.deism. He has published five books of poetry a:1d recorded a:i album reading his own verse to musical accompam· ment. Cofounder and publisher of Black River Writers Press1 Redmond is also literary executor for the estate of the bte poet and fiction writer H e1:ry DnmJs. C urrently Redmond is ~rofessor of ~ngl_1sh and poet-in-residence at California St~te Umvers1ty, Sacramento, and is one of the co-ordmators of the Annual 111ird World \Vriters and 111inkers Sym· posium held on that c;;mpus. He is in deman~ as a speaker, lecturer, reader, and consultant to _vanous workshops, symposia, and conferences, haV1ng ap· peared before audiences at UCLA, . Berkeley, in H arlem, in ·watts, H oward Umvers1ty, Southern University, and many more. EuGF.NE t': uq OTHER ANCHOR PRESS BOOKS OF INTEREST The Poetry of the N egro EDlTED BY LANGSTON HUGHES AND ARNA BONTEMPS How I Got Ovah: N ew and Selected Poems CAROLYN RODGERS The Mission of Afro-American Poet1y The Gospel Sound TONY HEILBUT Black-eyed Susans: Classic Stories by and about Black Women EDITED BY MARY HELEN WASiiINGTON A C'?ITICAL HISTORY BYEUGENEB.REDMOND Morning Yet on Creation Day CHINUA ACHEBE ANCHOR BOOKS The Black Aesthetic A N CEOR PRESS/ D OUBLEDAY EDITED BY ADDISON GAYLE, JR. CA R DEN CITY, NEW YORK ,,,.. v ◄A &fl(&;M'~ 1976 �r' & ♦a®t +tt:-:b enti?t»il wJb 4 1 'M t:::¾11 J I · yg be-:•?t ~ - t:t:1lf 'e tt •i ~,w,ui4:)+,+1:rJli::U,;,,, -lb: DRUMVOICES tablished a ten-year winning streak. Tolson interrupted his work at "\1/iley to pursue an M.A. in English and comparative literature at Columbia University, where he met V. F. Calverton, editor of The Modern Quarterly. Later, in 1935, at Wiley, Tolso:1's career as a debating coach peaked when his team defeated the national champions, University of Southern California, before eleven hundred people. And in 1947, the same year Tolson was appointed poet laureate of Liberia by President V . S. Tubman, he became English and drama professor at Langston University, Langston, Oklahoma, of which city he served as mayor for four terms. At Langston he directed the Dust Bowl Players and dramatized novels by Walter "\1/hite and George Schuyler. A revered and feared teacher and organizer, Tolson became a legend in his own time. Hardly a student at any Deep South black college had not heard of Tolson's ·work as poet, dramatist, debating coach and educator. His column "Cabbages and Caviar" was a regular in the Vlasbington Tribune during the thirties. Tolson published three volumes of poetry: Rendezvous with America ( 1944), Libretto for the .Republic of Liberia (1953), and H arlem Gallery, Book I: The Curator (1965), and wrote a number of unpublished novels and plays. His work appeared in Th.e Modern Quarterly, Atlantic Monthly, Common Ground, Poetry, and other periodicals. He won numerous awards and citations, among them first place (1939) in the National Poetry Contest sponsored by the American Negro Exposition in Chicago (for "Dark Symphony"); the Omega Psi Phi Award for Creative Literature (1945); Poetry magazine's Bess Hokim Award for the long psychological poem "E. & 0.E." ( 1947); honorary doctorate in letters, Lincoln University ( 19 54); permanent Bread Loaf Fellow in poetry and drama (1954); District of Columbia Citation and Award for Cultural Achievement in Fine Arts (1955); first appointment to the Avalon Chair in Humanities at Tuskegee Institute (1965); and the annual poetry award of the American Academy of Arts and Letters, including a grant of twenty-five hundred dollars (1966), the same year he died following three operations for abdominal cancer. As a black poet and intellectual in the mid-twentieth _, A LONG WAYS FRO M H O ME century, Tolson assumed the multi-leveled stance of_ his eighteenth- and nineteenth-century pre~ecessors (Pnnce Hall, Benjami-::i Banneker, James "\1/h1tfield, Alexander Crummell, Frances E . W . Harper, and others) who served as teachers, aboli tionists, revolutionists, defenders of what they believed to be decent in the promise of America, and character models for black communities. Tolson's predecessors fought for the right to be called humans; he fought the battle of integration. As Tolson lay dying, other, younger poets were fighting the battle of self-determination-albeit using the same tools employed by poets and intellectuals of the previous two centuri_es. S~ it is in~eed ironic ( and sad!) when a youn~ wnter like Ha~1 R. Madhubuti (Don L. Lee) complams tha~ Tolson 1s ;1ot accessible to the everyday reader ( see review of Kalezd0scope, Negro Digest, January 1968). But Joy Flasch points out (Melvin B. Toison, 1972} that Tolson was aware that he was not writing for the "average" reader but for the "vertical" audience. In "Omega" of Harlem G allery, Tolson asks if a serious artist should "skim the milk of culture" and give those demanding immediacy and relevancy a popular latex brand? __ _ __.__.,lson- dicLna live, as did Hayden, Bro :vn, Redding, and others, to make clcse contact \vith proponents of the - "E ac, aesthetic" of the 1 6os. But som~pp_onents have continue o ra_,e um over the coals of responsibili.._ty. Black oet Sarah Webster Fa io (Negro Dige.st, Decemoer 1 - halleng.ed Karl Shapiro's statement (Introduction to Harlem Gallery)_ that Tolson "writes _ in Ne ro." Hi p tic language is "most certainly not 'Necrro '" she averred noting that i_L!s "a bizarre, pseudoliter~1 1ction" taken from stilted "American maingrearn" RQe ry, '\vhere if rightfully and wrongmindedly · belonged.'' \Vhite critics :md writers joining in the assault onTolson included Laurence Liebennan ~nd Englishman Paul Bremen ( of the Heritage Series). Lieberman takes exception to Shapiro's statement, saying that he teaches black students from all over the world who are steeped in black language bat do not understand Tolson (review of Harlem Galtery, The Hudson Review, Autumn 1965). Yet Tolson's publishers had high hopes that he might get �DRUMVOICES This poignant revelation is made in the end: I raise my downbent kinky head to charlie & shout I'm black. I'm black & I'm from Look Back. ..,Ne think immediately of such titles as Think Black (Lee) and "Say It Loud-I'm Black and I'm Proud" (James Brown) even though this poem preceded them by several years-to say nothing of Joseph Cotter, Jr.'s '·Is It Because I'm Black?" But White can also do light and touching things, as in "Picnic" and "Day Is Done," whic~ places "music in the air" ~s l?repar7s_ for ,?ed a_n~. hr,~ "woman" sets her hair. Hrs iromc, satmcal Inqms1tive displays the range of these poets. The narrator wonders where "Gods" and "buddhas" hide if the earth and sky are both visible to man. · critical attention has been given tl1e__Hm_y- ~ r -grou or any of the otl1er poets writing during this period. uf they are legion, including well-known as well as unfamiliar names : Jolmson Ackerson, Charles _Anderson (1938- ), Eugene Redmond (1937- ), Julian _Bond (19 40- ), John Henrik Clarke (1915- ), Leslie M. Collins ( 1914- ) , Katherine Cuestas ( 1944- ) , Margaret Danner ( 191 5- ) ,. Gl~ria Davis, Durem, :tv;ari Evans, Ivlicki Grant, Julia Fields ( 1938- )_, Gomon Heath, Horne, Ted Joans (192 8- ), Na?~I ~ad~ett (192 3,- ) , James C. Morriss (1920- ), OH1ggms, Iatterson, James Randall (1938- ), Peter T. Rogers, John Sherman Scott, Carmell Simmons, James W. TI1ompson (1935- ), Vesey, Sarah V\Tright \1929- ), Joyce Y71dell (1944- ), Robert Earl Fitzgerald (1935- ), Calvm •, Hernton ·(1932- ), Lula Lowe Weeden (1918- ), l Lillie Mae Carter, Gloria C. Oden, Mose Carl Holman i 1919- ), Alfred Duckett (191 8- ), J.M. G ates, James } Emanuel (1921- ), Lerone Bennett, Jr. (1928- ), 'I _i£_ Sarah Vlebst r ' bio_(.i9~=-),.Jfoyt Fuller (1927- ), ~~ Carl Gardener (1931- ), Ossie Davis (1922- ), Zack ':! Gilbert (1925- ), Herbert Clark JohD;son (1911- ), ) Bette Darcie Latimer (1927- ), _Oliver ~ Crone ( 191 5- ) , Rivers, Bruce McM. Wnght, Pauli ~urray (1910- ), Roy Hill, Sam Cornish (1938- ), 'Yvonne ?e YltSTIYAI.S AND FtTH'f:RJ.LS 319 Gregory (191<;- ), Frank Yerby (1916-), Nanina Alba (1915-68), Frank London Brown (1927-62.), Isabella Maria fhown (1917- ), Catherine Carter (1917- ), Ernest J. -vVilson, Jr. (1920- ), Mary Carter Smith (1924- ), James P. Vaughn (1929- ), Robert J. Abrams (1924- ), Roscoe Lee Browne (1930- ), William Browne (1930- ), Oliver Pitcher (1923- ), Ishmael Reed (1938-- ), Adam David Miller (1922- ), David Henderson (1942- ), Don Johnson (1942- ), 11rnrmond Snyder, A. B. Spellman (1935- ), Mance Williams, Tom Dent, LeRoi Jones (1934- ), Vivian Ayers, Helen Morgan Brooks, Solomon Edwards (1932- ), Ed Roberson, Vilma Howard, George Love, Allen Polite (1932- ), Lloyd Addison (1931), Hart Leroi Bibbs, Durwood Collins ( 1937- ) , Bobb Hamilton, May Miller, Stanley Morris, Jr. ( 1944- ) , Quandra Prettyman. In anthologies this non-exhaustive list was often intermingled witl1 early poets ( as far back as Phillis Wheatley ), elder ones (Johnson, McKay, Dunbar), a.nd spiced ,vith a good offering of post-Harlem Renaissance poets (Walker, Brooks, Tolson, Hayden). Such names as Fuller, Bennett, Jr., Holman, Yerby, Davis, and Clarke fall in the category of part-time poets-most of whom undertook full-time duties as novelists, editors, laivyers, or teachers. Other important movements parallel to this phase were the emergence of literary magazines (Free Lance, Phylon), especially on black college campuses; black newspapers' renewed interest in verse; establishment of poets in residences at southern black colleges; the flowering of regional "movements" or writing collectives.such as those in New York's Greenwich Village (Yungcn, Umbra, etc.) , Cleveland's Karamu House and Free Lance ( Casper Leroy Jordan, Atkins), Howard's Dasein group, the Detroit poets, and Georgia Douglas Johnson's homebased workshops in Washington, D.C.1 Not all these de- ii i l f t \ t ~ fI f ' f I 1 I t• t f l I 1 Development of a black listening oudienco was a control aim In most of th ese activities. For example, on June 16, 1957, young poets Co :vi n H ern :on ond Rcymo~d Potterson read toge ther ct 316 East 6th S:rcat In New York City. A favo rite New York gotherlng place for readi ngs was the lv'~rk6t f'loce Gallery (2305 Seventh Ave nue) , whor e Roscoe l ee Browne was fea tured In th e lo!e fifrios. In July and ! t 4 l • tf i w~ ,. �37° DRUMVOICES Anthology of Black Phi"ladelphi.a Poets ( 1970) , published by the Black History Museum Committee. Harold Franklin's Introduction states: "A BLACK POET IS A KIND OF WARRIOR"-thus linking Philadelphia sentiments to those in New York and Boston. The Black Butterfly, Inc., a cultural center, was one of the several crossroads for various cultural/political activities in Philadelphia. Its founder was Maloney (now Chaka Ta), whose Dimensions of Morning Sky was published in 1964 in Pamplona, Spain. "Good Friday: 2 A.M." celebrates a "sultry brown girl" who "seems a superior animal." T11is "sepia siren" also holds the "semen" of a "vivid passion." Philadelphia poets explore city life and Africa, and exalt blackness. TI1ere is, too, the rage and vehemence often found in New York and Chicago poetry. "Cool Black Nights" (by Traylor, who died at age twenty-two) also captures driving street rhythms and rough rhymes: them hard-looking hard-talking hard-loving Cool black dudes and them fine-looking fine-walking fine-talking fine-loving them fine soul sisters ..•. In Pittsburgh there was born the short-lived Black Lines: a Journal of Black Studies ( 1970). It published such Pittsburgh-area poets as Ed Roberson, August Wilson and Joanne Braxton, as well as such poets from the Midwest as Al Grover Armstrong and Redmond. The University of Pittsburgh Press opened up to black poets that same year, publishing H arper (Dear John, D ear Coltrane, 1970; So ng: Carz I Get a Witness, 1973), Roberson (Vlhen Thy King Is a Boy, 1970, and Etai-Eken, 1975) and Gerald Barrax (Another Kind of Rain, 1970). Roberson's poetry makes use of the gamut of techniques and styles-from neat drama to slanted spacings and slashes. In "mayday" there is an "underside of heaven" and the FESTIVALS AND FUNERALS 371 warning from one misunderstood that he is "armed" to fight the final kindling of your dreaming. "Othello Jones Dresses for Dinner" is a satirical look at the "Guess Who's Coming to Dinner" theme. After dating a white woman, the narrator assures her parc:nts that he is "well mannered." Roberson adds his voice to a growing group of Pittsburgh poets that includes Kiik Hall (1 944- ). Poetic talent has always been sired to the south in Washington, D.C., where Sterling Brown continued to teach into i:he early seventies. Howard, by now leading all l ,hck universities in the new consciousness, was the scene of a number of significant disturbances that nudged the school toward a new image. While Howard's poetic histo1y can be traced through the early days of Sterling Brown ( and into the Howard poets), the school has produced a number of younger writers: Clay Goss, Richard ·wesley, E. Ethelbert Miller (Andromeda, 1<)74), and Paula Giddings. Its new image was deepened and broadened by the appointments of Hie Guiancse poet Damas and Stephen Henderson (English chaim1an at More-. house), who heads the Institute for foe Arts and Humanities. However, the Howard drama was staged against a series of developments in the surrounding communities: Federal City College (Scott-Heron), Center for Black Education (Garrett), New Thing in Art and Architecture (Topper Carew), TI1e New School of Afro-American Thought (Gaston Neal), Drum & Spear Bookstore (and Press) and the D.C. Black Repertory (Robert Hooks). In addition to Damas and Henderson, the instit ute has added Madhubuti (Lee), Killens, Goss, Brown, Arthur P. Davis, and Mmos Zu-Bolton. Already, the program's service to poets h as been invaluable. Selected for special honors have been Baraka, Gwendolyn Brooks, Joans, and Dodson. A number of poets were also featured in the institute's First Annual Symposium: Lucille Clifton, Goss, Scott-Heron, Adesanya Alakoye, Miller, and M ari Evans. Toure, Johnston, and Kgositsile were guests for a program examining the African cultural presence in the Americas. Several poets h ave been invited to read and be recorded �D ~ ...,..,4",► 111WScf'c'6et 37.2 DRUMVOIC:,;s for the permanent audio/video library: Jayne Cortct, - -i~IE=--- - - - 'C ~ ro,..ru..-.c.... h,, · • · Harper, Jeffers, JI' Joans, Redmond, Sonia Sanchez, Scott-Heron, Bruce St. Iohn, Margaret Walker, and Jay Wright. In 1968 Gaston Neal said his "philosophy" was "to purge myself of the whiteness v.-ithin me and link completelv with my black brothers in the struggle to destroy the enemy aud rebuild a black nation." He appeared to be working at that task for a while before the Afro-American school closed. In "Today" be said the tone of his life resembled a "growl mingled" with the groan of the past . . . and he lamented the jungies, which had been deflowered by r.apalm. . . • Karl Carter, another D .C. poet, appears in Understanding the New Black Poetry. He evokes the spirits of the "Heroes" of Orangeburg, Jackson, Memphis, New York, and Nashville, recalling that during a riot in Nashville he was Riding somewhere in my mind with Eldridge Cleaver.. .. "Roots" is an unsuccessful attempt to fuse the drama of colloquial black language with a formal English narrative about his grandmother. Other poets living or publishing in the D.C. area during the sixties and seventies were Bernadette G-Olden ( 1949- ) , Helen Quigless ( 194 5- ) and Corrie and Roberta Haines. Beatrice Murphy ( 1908- ) , who over the years has contributed greatly to the growth and development of black poetry, has edited three important anthologies : Negro Voices (19,38), Ebony Rhythm (1947), and Today's Negro Voices ( 1970) . Her own_volumes. of poetry are Love Is a Terrible Thing ( 1945 J and, with Nancy Arnez, The Rocks Cry Out (Broadside, 1969). Her poetry has moved from a traditional meter to a traditional free verse, dealing in the new phase with tensions cause~ by overemphasizing "white" and "bl~c½," and_war. She 1s currently director of the Negro B1bhograph1c and Research Center and serves as managing editor of its publica- 7I J TIYALS AND FUNERALS 'I· I j 373 t.1n Bibliographic Survey: the Negro in Print. Poetry by I).C.-area poets can be found in Transition, a journal of Howard's Afro-American Studies Department. Editors are ~filler, Iris Holiday, Ella Harding, and Veronica Lowe. The Haineses co-authored As I See It (1973). Many D.C. poets are also fo und in Synergy: D .C. Anthology, edited by Zu-Bolton and Ethelbert Miller (Energy Black South Press, 1975). Adjacent i:o the District of Columbia, in Baltimore, more height is added to the black poetry totem. Lucille Clifton ( 1936-- ) , Sam Cornish ( 1938- ) and Yvette Johnson ( 1943- ) have produced poetry that stands with the best contemporary verse. Good Times ( 1969), Good New.~ About the Earth (1972) and An Ordinary \Voman (1974) are volumes by Lucille Clifton, who also writes children's books. She currently teaches at Coppin State College in Baltimore, where she lives with her husband and six children. Even her titles suggest something about her spirit and temperament. In the swamp of depression and bleakness, it is indeed warming to hear someone proclaim G-Ood News! The "Eldridge" of the 1960s is compared to a meat "cleaver" that will not "rust or break." And there are humor, irony and truth in "Lately" in which the "always drunk" delivery man says : "I'm 25 years old and all the white boys my age are younger than me." \Vhile some sing good times in tl1e kitchen, there are also other acknowledgments: "Malcolm," "Eldridge," "Bobby Seale," and student participants in den1011strations at Jackson and Kent states. G-Ood News About the Earth gives black and contemporary settings to biblical stories. Most are unique, like the very womanly "Mary": I this kiss as soft as cotton over my breasts all shiny bright something is in this night oh Lord have mercy on me J �DRUMVOICES tablishes her right to have "caviar" or " shr_iI?Jp souffic" over "gut" o~ "jowl." Som~ mei:ius and political stances are overexoticized by revolut10nanes, sh_e says, and she has "earned" the riaht to do what she,, likes. She has even b . . . . . ,, heard "Mau Maus" screammg and romanbcizmg pam. But she has paid her dues and had enough pressures ~rom both sides of the color line. The subtle dart, but direct power, of Julia Fields suggests a healthy future for black poetry. ·writers C · i k niversit, the most imporn one taking place in the spring of 1967. Hayden, who h ad been at Fisk since the forties, left in 1968 after. a series of brushes with proponents of the black aestl1ebc. The 1967 conference (probably the straw that b:ok~ the camel's back for Hayden) is seen by some as a ma1or Juncture in the new black writing. Gwendolyn Broo~ talked about it in her autobiography, Margaret Walker discussed it with N ikki Giovanni in their published "conversations," and Hoyt Ful1er wrote glowingly of it in B~ck VVorld. Writers attending the conference were David Llorens, Fuller, Ron M ilner, Clarke, Bennett, Margaret Danne:, Nikki Giovanni, Randa11, Lee, Margaret Walker, Son_i::i Sanchez, Jones, and Margaret Burroughs. frob:ibly hel? m the Soui.h for symbolic reasons, the conference provided the first real "new" national dramatic arena for old and youn.,. writers . G wendolyn Brooks (a "Negro" then, she has s~id) recalls being "col~ly :espect~d" after just havinp, flown to Nashville from white white South Dakota. However she was among the first (with Randall and Fuller) to take up the banner of the black aesthetic and the causes of the voung writers. Such action, of course, was displeasing to number of white and black poets, not the least among them Hayden, who refuses to acknowledge the existence of a "separate" aesthetic for Blacks (Kaleidoscope, 1967, and Blacl< World poll, Januar1 a 1968). I l - Although the Fisk example has been followed by dozens of black colleges all ov~r ~he South, M~~'Yest. and ,,East, there is still no monolithic stand on directions, ~ut some writers keep trying to give them anywa~. O~e indication of the healthy diversity among black wnter~ 1s ~he journal Roots, published at Texas Southern Umvers1ty. FESTIVALS AND FUNERALS t ·i Editors are Tommv Guy, Jeffree James, Turner Whorton, and Mance Willia~11S. Lorenzo T110mas is also associated witli the publication. Volume I, number 1 contains essays, art and tl1e works of several poets, most of them Southeners. The poetry, devoid of monotonous theme or style, represents a broad range of interests in linguistics, subjects aP..d fonns. M'lo, in "a love supreme," says, "all my eyes gazed forever backwards." In "she'll never _k now," 11ic~ey Leland writes of various aspects of the social and physical landscape including the "Kinky haired boys" who build "arsenals 'of straw." Clarence Ward notes in "Hanging On" that the rent has gone up, eviction is imminent, faere is no food for the baby, and Hanging on aint easy. . .. I J. ahmad j.'s title "Hard Head Makes a Soft Ass" implies the poem's statement. And far.tasy eternalizes, "like a good high," for Tommy Guy in "Brother." The themes of unity, self-esteem, the African "motherland," and anger remain in the new poetry as the Midwest and West contribute immensely to its brilliance and the controversy. Ohio, for example, represented a uaique gathering of diverse views on the new consciousness, attracting a number of poets to aid the work of Nom1an Jordan (1938- ), Atkins, Jam es Kilgore (all from Cleveland ) and Hernton. Now at Oberlin, Hernton succeeded Redmond as writer-in-residence there a year after Quincy Troupe began a residency at Ohio l!nivers~ty. Sarah Webster Fabio has also taught at Oberlm dunng Hemton's leave of absence. However, Cleveland-area activity was spurred by a long tradition of black writers including Dunbar, Hughes, Chesnutt ( one of the founders of Karamu House ) and Atkins. This continuum produced Jordan and a host of younger poets: Anthony Fudge, Larry Howard, Larr1 \,Vade, Art Nixon, Clint Nelson, Robert Fleming (Ku \Vais magazine), Alan Bell, Roland Forte, T ed Hayes, Elmer Buford, and Bill Russell of the Muntu poets. Ci:J.1er participating writers-artists were Clyde Shy, Ameer Rashid, a:i.d Anetta Jefferson. Support for poets and their activities came from various places: the Cleveland Call and Post, Afro-Set Black Arts Project, United Black Artists. Free Lance, and Karamu House I i �~- . .,...,,.,.,...y);,: d F'ESTIVALS AND FUNERALS DRUMVOIC ES life, love and ancestry. Exceptional pieces are the folksy "Hard Rock Returns to Prison from the Hospital for the Criminal Insane," the mystical and mythical "He Sees Through Stone," the genealogical "The Idea of Ancestrv" the innovative haiku sections, and "On Universalism'" which warns against applying "universal laws" to Blacks' "pains" and "chains" in America. His technical abilities are poignantly displayed in haiku "9": i Making jazz swing in Seventeen syllables AIN'T No square poet's job. Knight, who was later rele;;sed from prison, also edited Bl,ack Voi~es from Prison ( 1970) , and in 1973 Broadside Press published Bell)' Song and Other Poems. He loses bis re,a ch when he overintellectualizes in his poetry. And Poems .is not surpassed by Belly Song. The second book has some fine moments, but it sometimes slips into polemics. However, Knight is still stretching out as a poet, currently doing research into oral literature with the aid of a Guggenheim grant. Belly shows him pursning this tradi. tion in "The Bones of My Father," which smile at the moon in Mississippi from the bottom of the Tallahatchie. Fina~ly, a number of poets from this general region of the Mr?west and South are included in a special blackpoetry rss~e of Negro American Literature Forum (spring 1972) edited by Redmond. T:1e Forum is published by Indiana State University School of Education and edited by John Bayliss, an Englishman. It regularly reviews black literature. Chicago is a Midwest heart and has a long tradition of black arts, going back to, and before, Count Basie's opening at the Sunset Club, in 1927. However, some of the more recent forces helping to shape the new poetry movement there are South Side Community Arts Center, the formidable Johnson Publications, Kuumba's Workshop and Root Theater (Francis and Val Ward), the DuSable Museum of African American History (Margaret Burroughs), Organization of Black American Culture, Insti- tute of Positive Education and Third ,vorld Press (Madhubuti), Free Blach Press.• Afro-Arts Theater, Malcolm X College, Oscar Brown, Jr., Muhammad S{Jeal~s (now Bilalian News), Eilis's Bookstores, Chicago Defender, and Philip CohraP. (Artistic Heritage Ensemble). Much of the new poetry scene generates from OBAC and Gwendolyn Brooks. Fuller, former Black \Vorld managing editor, is also adviser to OBAC's Writer's \Vorkshop. In a 1969 (fall) issue of Nommo, the workshop's journal, Fuller said: Black is a way of looking at the world. The poets of OBAC, in revealing their vision, celebrate their blackness. In this moment in history, what might under different circumstances be simply assumed must necessarily be asserted. And the OBAC poets know--if others do not-that pale men out of the West do not define for mankind the perimete1s of art. This they want all black people to know. I In the jourml's winter issue of the same year, Fuller said OBAC members were "seeking" to be "both simple and profound." They display an •'imaginative representation of their experiences," but they also seek "to be revolutionary." In the first quote, Fuller's tone, carrying the battle-baiting phrase "even if others do not," seemed to have been a signal for, among others, Don L. Lee (1942- ) , to continue his own relentless attacks on all fronts. There are no sacred cows, as Lee sees it, and since "others do not" know what the youthful Chicago Blacks presumably did know, Lee's assignment seems to have been to teach them. Gwendolyn Brooks concurred with most of this feeling, embracing as it were a "new" blackness and (unfortunately) engaging in self-deprecation: "It frightens me to realize that, if I had died before the age of fifty, I would have died a 'Negro' fraction." Lee, following the examples of Randall and Baraka, began Third World Press-a valuable vehicle for the new poets-and changed his name in the early seventies to H aki R. Madhubuti. He also established the Institute for Positive Education, which publishes Black Books Bulletin ( with himself as editor). Other poets included in the editorial staff are Sterling Plurnpp ( 1940- ) , Johari Amini (Jewel Latimore) �7 ' 388 1 re tr:aft'➔ 171 •l&'iiloal'1irlm, ·ii,!biri I ttott::::t:4illt - etile'•, -..,_ FESTIVALS AND FUNERALS DRUM VO ICES (1935- ), Emanuel, Sarah r Fabio the late David Llorens (who aunched Lee's national career in Ebony, March 1969), and Dudley Randall. OBAC was founded in 1967; poets of varying temperaments were attracted to it and to Gwendolyn Brooks's workshops : Carolyn . Rodgers (1943- ), Walter Bradford (1937- )~ Carl Clark (1932- ), Mike Cook (1 939- ), James Cunningham (1936- ), Ronda Davis (1940- ), Sam Greenlee, Philip Royster (1943- ), Peggy Kenner ( 1937- ) , Madhubuti, Linyatta (1947- ), Sharon Scott (1951- ), Sigemonde Wimberli (Ebon) (1938- ), and a continuous stream of newly arriving poets. Other Chicago-area poets are Stephany Fuller (1947- ), Eugene Perkins, Irma McLaurin, Lucille Patterson, Jerrod, Zack Gilbert (1925- ), Alicia Johnson (1944- ), Ruwa Chiri, Robert Butler, and Barbara McBain ( 1944- ) . The work of many Chicago-area poets can be found in Nommo, Black Expressions, Black World, Black Writers' News, Muhammad Speaks, and in the anthologies A Broadside Treasury ( 1971 ) and Jump Bad: a New Chicago Anthology ( 1971), both eclited by Gwendolyn Brooks. They can also be found in numerous other nationally distributed anthologies and journals. Black World, as name and concept, was a concession won by Chicago-area artists and activists who protested against the old name, N egro D igest, in tl1e late sixties. Until April of 1976, when Johnson Publishing Company ceased publishing it, Fuller guided Black World's new image through tl1e choppy waters of controversy and change. But many readers have been critjcal of Black World's particularized stands, its lack of "open" forum on some issues, and its tendency to circumscribe individuals and groups. Nevertheless the journal has been an indispensable aid to black poets and writers, printing their work, identifying anthologists,dn?ti£ng ~ books published, and serving as facilitator and con mt or .i prizes and contact. At the same time, however, the Afro- I American community faces the challenge of producing a journal tbat can reflect its new sophistication and thought. Among all new poets, Madhubuti is second only to Nikki Giovanni in the number cf accolades and the com· mercial attention he and his poetry have received. A 1 j I\ •~§i,btie, sampling of critics, poets, and scholars who feel he is one of the greatest of the new poets would have to include St;phen Henderso?, ~uller, Gwendolyn Brooks, Margaret v\ alker, Paula C1ddmgs, Baraka, Mari Evans, Randall, and Gayle. Gwen~olyn Brooks has said he physically rese1:1bl~ Jesus Chnst, and her Introduction to 1ump Bad hai~s him as "the. most significant, inventive, 'and influential black poet m _tl~e country." Overlooking, for the mon;i_ent, th~, prereqmsite. of reading "all" the poetry in the. co~ntr~ before makmg such a statement it is para?Ox:c~l m_ view of the "collective" policy- and the antimdiv1duahst positions-that allegedly £01m the cornerstone of the Chicago poetry scene. Madhub~ti has published five volumes of poetry: Think Black! (1907), Black Pride (1968), Don't Cry, Scream (1_969~, We Walk the Way of the New World ( 1910 ), Dzrectzonscore: _Selected and . New Po~ms ( 1971 ) and The Bo?k of Life (1973). His Dynamite Voices, Vol. I (Broadside Press), publi?h~d in 1971, is a study of four!een black poets of the sixbe~; but, like his other criticism, it reveals that he :s_ a hazy tlunker who lacks discretion and a firm unders~andmg the black poetry tradition. He spend~ an ~tire_ page, ror example, illuminating and apparently ad,ocatmg the use of the word "motherfucker." And any ?ook about the sixties should not come off the press without examining tl1e poetry of LcRoi Jo~es/Imamu Baraka. Madhubuti attributes the fothersl?p of the new black poetry to Baraka but does not ~iscuss th~ man's poetry. T11ere are other, incredible flaws m the book, for which this young poet's mentors must s~are some blame. As a critic, he did not ( could not!) cultivate the "distance" of a Johnson, Brown, Redding, or He_n~erson, and consequently- lacking discipline and ~amm&-could not really see the poetry. The book's :ed~emmg . values, such as they are, possibly reside in its mcidental mformation and bibliography. As a poet, Le~ f~res ~etter, employing ,vit, irony, under. St~te~en!, a~~ sigmficat10n ( e.g., "In the Interest of Black awation : Jesus saves-S&H Green Stamps") But there exc~1_lent _poets in Chicago who have been dwarfed by b~ pohticalT 1:11age (P1umpp, Cunningham, Rodgers, Gil. h~rt, etc.) ,.His themes range from what Artl1ur P. Dr,vis "s called TI1e New Poetry of Black Hate," through love o! ]? ·, t Il II I I �j J DRUMVOICES Washington University in St. Louis, and recently returned to Los Angeles. Jayne Cortez went to New York, where she has lived and wTitten since the late sixties. Her three books are Pissstained Stairs and the Monkey Man's ~.;:vares ( 1969), Festivals and Funerals ( 1971), and Scarifications ( 197 3) . She has also recorded an Lp, Celebrations and Solitudes ( 1974). Her themes and styles are broad, but mostly they embrace music as aspect and form. Africa as stmggle and spirit is also a dominant theme in her poetry. Pissstained is especially rich in its interweavings of music and indexes of struggle. "TI1e Road" is " where another Hank moans" and is Stoney Lonesome. • •• "Lead" describes the kind of hard life that is "cracklin hot at sunrise." Lead, of course, is Leadbelly, whom the "nigguhs" desperately want to hear spit the blues out. Her struggles are more than simple "contrivances" as they chronicle the hardships and good times of Dinah, Bird, Omette, Coltrane, "Fats" Navarro, Clifford Brown, and others-a veritable poetic tapestry of black expression in defiance of death, from one who would ("Hungry Love" ) ••. eat mud to touch the root of you . . . . l' Among other Southern California poets are Robert Bowen (1936Sherley Anne Williams, Arthur Boze (1945- , Kinamo Hodari (1940- ), Dee Dee McNeil ( 1943- , Bill Thompson and Lance Williams. A popular Watts counterpart of The Last Poets of New York are the Prophets of Watts, who have recorded several Lps. Northern California als e_ctsJ:he varied inJ:~rests and backgrounds of black poets and writers. Indeed, a listing of poets and writers from the general San Francisco Bay area reads like a national convention : Gonc;alves (1937- ), Reed, Al Young (1939- ), Harper (1938- ) (now at Brown), Ntozake Shange (1948- ), Conyus ( 1942- ) , Clyde Taylor, Victor Hernandez Cruz (1949- ), Angelo Lewis (1950- ), L. V . Mack (1947- ), Miller, Thulani Nkabinde (1949- ), Lawrence McGaugh ( 1940- ) , Cecil Bro'Nn, El Muhajir (:Marvin X), (1944- ), Leona Welch, Joyce Carol FESTI VALS AND FUNERA LS Thomas (1938- ), Joseph McNair (1948- ), David Henderson ( 1942- ) , Jon Eckels, Glen Myles (1933- ), George Barlow (1948- ), Ernest Gaines, Herman Brown (Muumba), Pat Parker, De Leon Harrison (1941- ), Sarah , r s Fabi 9.z_& William Anderson, Maya Angelou ( 1928- ) and Alli and M~c?ev,:eo Aweusi (Words Never Kill, 197 4) . Bayarea activity m the arts has been heightened and enhanced by the San Francisco Afro-American Historical and Cultural Society, bookstores such as More, Marcus and New Day ( Gon9alves), activities of Black Panthers and similar ~oups, the DEEP Black \Vriters Workshop, tl1e Rainbow Sign cultural center in Berkeley, Nairobi College, and numerous other cultural and literary projects. Poems by many of these bards are included in Miller's Dices or Black Bones ( 1970), Journal of Bl-a.ck Poetry, Yardbird Reader (a semic:nnual edited by Reed, Young, Brnwn and l\:iyles), Umbra Blackworks (Henderson, all issues, especially 1970-71), and other nationally distributed an- \ I i I thologies and periodicals.5 Reed, a strange and original writer, has published tluee volumes of poems: catechism of a neoamerican hoodoo church (1971) , Conjure: Selected Poems, 1963- 1970 (1972), Chattanooga (1973), and four novels. Volumes of poetry an~ more_fiction are forthcoming. His work has drawn a cunous mixture of adjectives from critics: "brilliant/' ,:•cute," "jumbles and puzzles," "important," "bad ~om1c~ and so on. Indeed, Reed writes his poetry themes mto h_1s novels and_ his ~ction themes into his poems, thm revealmg an ~rrestmg literary continuum. In this service, he e1:1~loys d1~lects, Voodoo, the occult, whimsicality, wit, mysticism, satire, which he obviously enjoys, all reinforced by assort~d library information and street expressions. He v10lates time barriers, placing an ancient Greek figure in a contemporary poem, or vice versa. His verse forms are experi_m~n~al, roug~ly recalling the beats and other past stylistic meverenc1es. But a close reading will show him in the tradition sf Dunbar, Toomer, and Tolson. There are no sacred cows for Reed, who sometimes Iambasts black nationalists and white liberals in the same poem. Gener6 1n The works o f many Northern Califo rnia writers con al so be found " A rts & litera ture" issue of Th e Block Scholar, June 1975, ° special t II � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_09_39 Title A name given to the resource Copy of excerpts from published Drumvoices: The Mission of Afro-American Poetry: A Critical History with handwritten notes Description An account of the resource Copy of excerpts from published Drumvoices: The Mission of Afro-American Poetry: A Critical History with handwritten notes. Includes title page, p. 248-249, p. 318-319, p. 370-373, p. 380-381, p. 386-389, p. 406-407. Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. https://digitallis.isg.siue.edu/files/original/62bc4de175ed9d95772e97f2590d645f.pdf 36611c2cbaf7b702c752523b9bc4cd27 PDF Text Text ACKNOWLEDGMENTS Many thanks are due the following poets, editors, publishers and survivors of poets for use of cited material. for each selection. All efforts have been made to secure the proper pennission However, if some of the selections are not prope r ly acknowledged, please' contact Doubleday &·Company, Inc., in order to clarify the situation. 1lA, ~ L~m-f¼l'C 1'_ ,l:tn,d s Al QXiRder for 1i nes from "Nocturne Vari a ~Je,~ r copyright Cc) 1949 , 1970.1 by An-n a L. Thomps on. Company, Inc. v1 /'1i,~~) /(rom The Poetry of the Neg ro, Published by Doubleday & Reprinted by permission of Mrs. Ann a L. Thompson. Margaret Wa lker Ale xander for lines from "Bad- Man S agolee," "Fo r My Peopl e:'' "Pappa Chicken ," "The St ruggl e Stagg ers Us," an d 11 \fo Have bee n Beli ever s 11 from For My Peopl e , copyrigh t © l 942 by Margare t Wa l ker and Yale Uni versity Press. Reprinted by ermis sion of Marga re t Ha l ke r Al exand er . J. Mo rd All en for li nes f rom "The Psa lms of Uplif t . :, " from ~ gro Poets and The i r Poems, edited by Robert Thoma s Kerlin. Associated Publishers, Inc. Copyri ght (f.)1923, 1935 by thi: = Reprinted by permission of the Associated Publishers, Inc. - 5J,,11.:t'l All\-'.Yt. Samuel Allen (Paul Vesey) for lines from "To Satch, 11 copyright@l962 by im~ t J:f1l1:.- Reprinted by pennission of Samuel Allen (Paul Vesey) . . . .· �11 Russell Atkins for lines from . At War:r 11r which first appeared in American Weave, • copyright© 1962 by Russell Atkins, and "Irritable Song" which first appeared I in Naked Ear, copyright© 1958 ' by Russell Atkins. Reprinted by permission of the author. Imamu Amiri Baraka for line,s from "Black Art," "Black People., 11 "leroy," and V 11 Sterl i ng Street September 11 from Black Magic: J © 1969 by LeRoi Jones. ~ • 1 Poetry 1961 1967, copyright Reprinted by permission of the publisher, The Bobbs- Merril 1 Company, Inc.· Austin Black for 11 ASEXUAl FLIGH~ 11 from The Tornado in My Mouth: Black, co pyright© 1966 by Austfn Black. Poems by Au st in Reprinted by permission of Expositi on Press, Inc., Hicksvil)e, ~Yr, 11801. Arrw Bontemps fo r li,es fro~ "Golgo tha is. ·nountain/ from Personals, copy .... ight © 1963 by Arna Bonttmps.<· Reprinted by permission of Ha ro ld Ober Associates. t / Gwendolyn Brooks fo; lines fr~n "The· Anniad, 11 "The Ballad of Rudolph Reed, 11 ~V\ ~ ~'tb L\ .n... · ~ t'a.e>!.t\ v.=f!Ul~use't- verly Hills, Chicago," 11 the children of the poor," 11 0f De W1ll lilliamsA , ''d~N>t'beo.~~ 0-~ no," "The Last Quatrain of the Ballad of Emmett T111," ) ·:: .. l "Negro Hero," "The Preacher: "we c::;;:::::r --- Ruminations Behind the Sermon, 11 and all of Real Cool, 11 fro~ _The World of Gwendolyn Brooks, copyright@l971 by ~u~.., ,~t ,. -- - Gwendolyn Brooks ;/' Langston Hughes, 11 11 Ri ders to the Blood-Red \-lrat~11 and "Of Robert Frost/ from Selected Poems., by Gwendolyn Brooks, copyright@) 1963 by Gwendolyn Brooks. Reprinted by permissi on of Harper 2 & Row, �Publishers, Inc.; for lines from "Speech to the Young/ ' from Family Pictures, copyright@l970 by Gwe ndolyn Broo ks Blakl ey. Reprinted ·by pennission of Broadside Press. Sterling Brown for lines from "Memphis Blue~" from Southern Ro ad, Beacon Press c~pyright@l975, and."Old Lem," copyrig ht@l975 by Ste rling Brown. rep;.tnf Used by permission of Sterling Brown. Benjami n nurre ll for li nes from 11 ·A Negro Mothei: " from Negro Poe ts and The i r Poems, ed ited by Ro bert Thomas Ker li n, copy r i gh t {!} 1923, 193~ by The Associated Publishers , inc . / Repr in te d by perm i s sion of The Associ ated Publishers , Inc. Ma rc us B. Christi an for l i ne s from "McDonogh Day in New Or l eans " from The .J - Poetry o_f__the Ne<1rQ_, copyright© 1949 by Langsto n Hugh es and Ar na Bon t emp . Co pyri ghtr; 1970 by Arr,a Bon t ernps . Rep rin ted by permi ss 1on of Doubl eday &Compa ny, Inc . . , 11 Lutille Clifton for lines from "Lately" and - Mary 11 from Good News About the '} Earth, copyright@l972 by Lucille Clifton, and "God's MoodJ' from An Ordinary Woman, copyright©l974 by Lucille Clifton. , ;i Reprinted by per- mission of Random House, Inc. I Sam Cornish for 11nes from "Middlecl ass Girls with crippled fing ers waiti ng fo r me to light t he1r ci garette~" fr om Peop l e Bene ath the ~/indow, copyrig ht@ 3 ' I �. ... 1968 by Sam Cornish. Published by Sacco Publishers. Reprinted by permission of the author. Jayne Cortez for lines from "Festivals and Funeral~" from Festivals and Funeral s , copyright©l971 by Jayne Cortez. Reprinted by pe nni ssion of the au tho r. Joseph Seamon Cotter, Sr.J for lines from "The Don't Care Negro: Chil d/ and Joseph Seamon Cotter, J r .0 for li nes fr om "Rain 11 and "The Negro MusicJ " fr om Negro Poets and Their Poems, edited by Robe rt Thoma s Ker li n. Copyr i ght © 1923, 193~ by The Associated Publis he rs , Inc. Reprin ted by permiss i on of The Associ ated Pub lis hers~ A~D Countee Cull en 1or li nes from "Heritage ," "Scottsboro , Too , Is l~ort and "Ye Do I Ma r ve1" f rom On The se I St nd . Haq,~r f.i Re,, , Pub li shers , Inc . Its Song," Copy rig ht(s)l 927, 195 5J by Reprinted by perm i s:; ion of Harper & Rov:, ...... . • Publ ishers , Inc. Waring Cuney for lines from "Hard Times" and "No Images II from Storefront Church , J , .., copyright©l973 by Waring Cuney. ·· Reprinted by permission of Waring Cuney. James Cunningham for lines from "St. Jul1en's Eve: __ For Dennis Cross 11 from Jwnp Bad, edited by Gwenqloyn Brooks. :·· · ,: ·.·· Copyr1ght©l971 by Bro: dside Press: :- ) ~:~)'.>< Reprinted by permission of Broadside Press. 4 �Wa.lter Delegall for lines from "Psalms for Sonny Rollin~" from Burning Spear,; An Anthology of Afro-Saxon Poetry. copyright©1963 by the Dasein Literary µ I. Society. Reprinted by permission of Jupiter Hammon Press of Oasein Literary /) Society. Alexis Deveaux for lines from Spirits in the Streets, copyright ~ l973 by Alexis Deveaux. Reprinted by permission of Doubleday & Company, Inc. Charles Dinkins for lines from ·11 1nvocation 11 from Negro Poetry and Drama, J _copyright (§.)1969 by Sterling Brown. Reprinted by permission of Atheneum . Owen Dodson for lines from "Countee Cu11en, 11 Divine Comedy. 11 Guitv.r , 11 "Jonathan 's Song, 11 "Lament, " "Open Letter" and Poems for My Brother Kenneth from Powerful "I long Ladder, copyrigh t© 1946 by Owen Dodson') ~ copyrig ht@ renev,e d 1974 by . ~C"'--' Owen Dodson" r?~ printed by pE:rmission of Farrz.r, Strau & Giroux, . Inc .\ l ines 1\-,t~ f rom "The Co nfess-ion Stone/' "Let me rock him again in my trembling ann, " 11 t·lary Pass ed This Morning; • from The Confession Stone yolume 13 in the Heritage Seri es, published by Paul Breme~, London, 1970. Copyrig ht© 1970 and : •I: .' .~ • 'r.· ,-' ·, r ~ :(. ~( by Owen Dodso~ Reprinted by pennission of Owen Dodson. . .. ( ~ , ·· ' J •. · ,•· • ...:!?,.~ ... - ~.'.:;.e ~,·: '.i, .. :~ . . • W.E.B. D o1 s for lines from "A Litany of Atlanta, D Bois, and 11 11 copyr1 ght © 1906 by H.E. B. ••• of Unc1 e Tom's Cabin, copyright© 1920 by W. E. B. oupoi s ;~i nes from "Song of Mrs. Shirley Graham OtBois. 5 Reprinted by pennission of • ·•. ~ ~ . . .4 t -.~ ) :. ; .. ~ •.._ ·.... -,.·.'<'.' :- \~ l Hymn of Hate/ ' from Darkwater: ,. ,The Twentieth Century Completion . the Smoke," copyright01899 by W.E.B. D Bois. • ; :· - . : _· · ;,;:· :1\ �Henry Dumas for "I Laugh Talk Joke" and lines from Jackharm1er," "Ngoma, 11 11 "Play Ebony Play Ivory," "Rite," "Root Song~' and "A Song of Flesh," from Play Ebony Play Ivory, copyright{s.)1974 by Loretta Dumas and edited by Eugene B. Redmond. Reprinted by pennission of Random House, Inc. Alice Dunbar-Nelson for li~es from "The Lights at Carney's Poin r from Negro Poets and Their Poems, edited by Robert Thomas Kerlin. 1_93 1 by The Ass ociated Publi _shers, Inc. Reprinted by Copyright€}1923, pennission of The Associated Publishers, Inc. Ray D-urem for "Broadminded" from Take No Prisoners, volume 17 in the Heritage Series, published by Paul Bremen Limited, London, 1971. by Dorothy Durem . Reprinted by permission of Paul Bremen Limited. t,3.ri Evi,nS for 1·llws from 11 in10 Can Black Loman, copyright@1970 1970. s·. Reprinted Copyr ight@ l971 by 1 e Born Bluck" and by 11 Th e Reb Mari Evans and p blished )r from I _Am.}.. by Hi111am Morrm-1, permission of Mari Evans. Felton (Elmer Buford) for lines from "An Elegy to Eternit~" from Conclusions, copyright(f.)1971 by B. Felton and reprinted by pennission of the author. . Julia Fields for lines from "Aardvar~' from Nine Black Poets, edited by R. Baird ' Shuma11-a-tttJ- copyr1 ght -J © 1968 by Moore Publishing Company. Used by permission of Moore Publishing Company, P.O. Box 3143, West Durham Station, Durham, N.C. 27705. 6 ' .-· . ._ • • 1"', '· �Shennan Fowler for lines from 11 Thinking 11 from Sides of the River: _, A Mini-Anthology 1 of Black Writing, edited and copyright©1969 by Eugene Redmond. Reprinted by pennission of Black River Writers Press. Nikki Giovanni for lines from ••concerning One Responsibl e Negro with Too Much , Power, 11 c~/i i-t 11 0f Liberatiot1,t' 11 Nikki-Rost1,'\ 1... The True Imp ort of th e r. r esent " Dialogue, Black vs. Negr~ 11 from Black Feeling, Bl ack Talk, Bl ack Judgement, (.,it~ ~ copyright© 1968, 19701 by ~.,i kki Giovan ni; ~ Africa/ f r om My House, copyri gh t @1972 by Nik ki Gi ovan ni. r<fe pri nted by penn issi on of Will i am Morrow & Co . , Inc. ~ Oswald Govan for lines fro m '.'The Lynching" f rom Burn i ng Spea r : 'J . '-' An Antho l ogy of Afro-S axon Poe t r'l_, copyright@1963 by t he Oas e in Lftera.ry Soci e ty . Repri nt ed by permi ss i on of J up i te r Hammon Press of, Dase1n Liter ary Soci ety. f1nge li n:1 Gri ; ~ f or i·i n~s from edited i.i nd copyri gil t (9 11 Th::? Bl a ck Fi n9e ~11 f rom ft.m~r ican t:2oro Poctrv 1 1963 by I ma Bonicrriµs . Re pr int ed by pe riiri ~s i on of , . Farr~r , St ra us &Gi roux, Inc . Michael S. Harper for lines from 11 Dear John, Dear Coltrane. 11 Reprinted from -;; Dear John, Dear Coltrane by Michael S. Harpe~ by pennission of ~University of Pittsburgh Press. Copyright@l970 by University of Pittsburgh Press. '.:. . , , _1 :· ···,, r. • ? '; ·, •,, , • • : l -.::· :·,. .:·:-:_ './ ··~/: /· John Wesley Hollaway for lines from 11 Calling the Doctor 11 and 11 Miss Merlerle~11 from From the Desert, copyright@l919 by John Wesley Hollaway. Reprinted in The Book of America n Neg ro Poet ry, edi ted by J ames We ldon Jo hns on . 7 , ' • y . . ! .. :,. ·". <c • .•· 1. �Co pyrigh t @1922 , 1931 by Harcourt, Brace & World , Inc. Copyright(91950 , 1959 by Mrs. Grace Nail Johnson. · Source for reprint righ t s could not be found at publicat ion time . Lucy Ari el Willi ams Holl oway for lines f r om "Northboun ~' in The Boo k of Ame ric an '} Negro Poetry, copyr i g~t@1926 by Lucy Ariel Willi ams Holloway. Repr in te d by pennission of the Na tional Urban League . Langston Hugh es for l ines from 11 11 Mother to Son" and The Negro Speaks of Rivers/ from· Se1 ected Poems, copyright© 1954 by Langston Hughes ~ /e pri n te d by ~ ... pennis s ion of Random Hou se , Inc .; lines from . t th e Lash : 11 Har l em 11 J fr om The Panthe r and Poems of Our Times, copyright (9 1967 by La ngs ton Hughes" /epr i nted 11 by penniss~on of Random House, Inc .;~nes from "Ja zzoni~ from The We~ Bl ues , copyri gl1 t @ 1926 by Alfred A. Knopf, I nc ., and renev4ed by Langston Hugh s 1 fiµr in ted ·y permi ss·i c.1 n of J\l fred A. Knopf. Inc. Lance J effers for lines from 11 Bl ack Sou1 of the Land" and "My Blacknes s is th Beauty of this Lan~" fr om My Bl ackness is the Beauty of this land, copyright@l970 by Lance Jeffers. Reprinted by permission of Broadside Press. Charles Bertram Johnson for lines (no title given) from Negro Poets and Their Poems , edited by Robert Thomas Kerlin. Publishers, Inc. Copyright@l923, 193~ by The Associated Repri nted by pennission of The Associated Publishers, Inc. �Georgia Douglas Johnson for ·lines from "Dreams of the Dreame~ from Caroling Dusk, 11 edited by Countee Cullen. Copyright©l955 by Harper & Row, Publis·hers, I nc. Reprinted by pennission of Harper & Row,., Publishers, Inc. Helene Johnson for lines from "Magul~' from Caroling Dusk, edited by Countee Cullen. Copyright@~955 by Harper & Row, Publishers, Inc. Reprinted by pennission of Harper & Row, Publishers, Inc. ~ ,~ .,_ ..) 1 1i " " ~ for 1ines fr om "The Crea ti on" and "The Prodi ga 1 So n/ from God's Trombones by Jame s We l do n Jo hn so n, copyright 0 1927 by The Vi kin g Pre ss, Inc. Copyri ght@l 955 ren ewed by Gr ace Na i1 Johnson. A11 rights reserv ed. Reprinted by permission of The Viking Pr ess, Inc. Percy Johnston for li nes f rom Fitchet t ' s Baseme nt Bl ues , Opus 5" from Burning 11 I Soear : 5oci ety . An .t\nthol oav of f\fro - Sa:.on Po ~trv, copyri gh t (V l963 '.)y,. DJ5e i n Li te r ary Repri nt.1d by perm i ss iun of Jupit,..,r Ham:-non Press of Dusein Li terar/ ' I .t.:-• Soci ety . ..... • • j .' :,: \ ) ,t 1 ' • . .~rr·~ . I• ~ JI ',, ·. , ·"~-"' the publiihers, E.P . Dutton ·,:, ·: r:t~· Reprinted by penni ss ion of copyright €)1967 and 1971 by June Meyer Jordan. ..,. &Co.~ Inc. --- .;~w . ·•~ t <, ·· ,:r/.:·:,; _;".:i./-l-. '-! J\ Nonnan Jordan for lines from "High Art and all that Jazf from Destina,~Ashes, copyright ©1970 by Nonnan Jordan. i: ... -. . ,, . ' .,r•• , • ., ' J l :.k;. •. · . .· : 1"'~ ..... ~': ,'":' June Jordan for lines from "Uncle Bull-BoY." from Some Changes by June Jordan, · • _..{ .; "/ .' :· · , ;' · w_. 'C,,:, . .·.,,.._. Reprinted by pennission of Third ~Jorld Press, 7524 So uth Co ttage Grove, Chicago, Ill. 60619 . ~ l'irqri r't'=i.rl't ): .rrimn~ \·!f'lrlnn .J01rn ~vm f o r l i n0:s f rom " My 1 Lnd 'T' 9 J,.ln::i Arn Li ke d o :ln11cy 11 : nd 11 \l ·~ 1EH' 1' nnd \Jn ), nn .rn ;\ny• cls" i'r,Jm S o i.nt 1 e+;o 1· he lnL~!; o n t1 n r✓ l ,r, , ; 1t. )~/ ,r:, n'e:1 .r-l rl r, n ,1nt1 :1 ~ ,11 , cor,::, ~:i -,h t "1' 1""1,:1 r,- -y , ·1~-'fiyUn;'lnf!.. \1,~fd ,J-r1 .1 ~ii"i"?1 Y\, c:, , 11 :rr·i "ilL .a , r n rw1-1 o d 71 1 1. 3 hy •:roc o ,lrd 1 ,J o n ~1on. ii c1p rl nt -, d oy 1,,~ 1•11\l:i: ; i , Jil of' _i ih:irw :1: n , :uln , l r' c. . 1. >~ �Bob Kaufman fo r lines from "_Heavy Hate r Blue;" fr om Golden Sardine, copyright@ 1967 by Bob Kaufman. Reprinted by permission of City Lights Books. Etheridge Knight for lines from "The Bones of My Fathe ~" from Be lly Son g, copyright (Dl973 by Etheridge Knig ht, and "Haiku 911 from Poems /ram Prison, copyright© 1968 by Etheridge Kn ight. Reprin t ed by perm ission of Broadsi de Press. Pinkie Gordon Lane for lines from "Griefs of Jo1;11 from Wind Thoughts , co pyrigh t @ 1972 by Pinkie Gordon Lane . Pub li shed by South & ifost, Inc. Reprinted by permission of Pi nkie Gordo n Lane . Wayne Loftin for li nes from 11 Rea l it~ 11 from Si des of the River : '<A Mi ni -Antho l ogy of Bl ack Wr iting , edited and copyrigh t ©l 969 by Eug ene Redmond. Rep rinted by permission of Bl ack R·iver Hr iters Press . ' .. (__ (),J{; ~-·-) / O-ffO:!_~ -\.~,'-~\ t t1 fJ u.\J {; . ·'J _I Audre Lorde V. f::w 1ines frc :. " ,l ack ~~other \·Jo;-,::. n"; frcm £1:ef- Lend \/hqJ' e _Q_':r, ~r ?'::22l. !. .!:ive , copy ri ght©P73 by Aud ra Lord2 ;i1nd ,·-pr i nted by perm1~ ~ of Ilroadsid ~ Pres s;~ ··- ~J; !;_o~ nes f~ on-minded t h2 Sun" appea ring on pp (f'ill in }1 Sixes ., . ,_. _\. o.p 11.r:.t,. ·.,.: t >-1 f-',_, :; -- (1·::l and Seve ns , copyrigh t @l962 by Audre Larde, and "Rites of Passage 111/rom Cabl es 1- . ~ 1 ~» ·;, to Rage, copyright{s)1970 by Audre Lorde. ~.., . Used by permission of the author. · · . __ _.;.}: , _· : _;·t)~ ' ' 11 Claude McKay for lines from "Baptism," "If We Must Die" and "The Lynching1 ~rom ···_. , .. .·. . •,I s :--"<). Selected Poems of Cl aude McKay, copyright(gl953 by Twayne Publishers, Inc. Reprinted by pen111ssion of Twayne Publish ers, a Division of G.\K. Hall & Co. -. 10 ' ., �Haki R. Madhubuti for lines from 11 First Impressions of a Poet's Death; ' from Think Black, copyright~ 967 by Don L. lee, and "The Se 1f-Ha tred of Don l. Lee"· and "Don't Cry, Scream/ from Directionscore: (f) 1971 by Don l. lee. Selected and New Poems, copyright Reprinted by permission of Broadside Press. George Reginald Margetson ~or lines from The Fled glin g Bard and the Poetry Soci ety, copyright@1916 by George Reginald Margetson. Reprinted in The Book of American Negro Poetry, edited by James Weldon Johnson. by Harcou r t, nrac e & Wor l d. Copyright@ 1922, l93lJ Copyri ght@ 1950, 195] by Mrs . Gra ce Na il Johnso n. Source for repri nt rights could not be fo un d at publication ti me . G-jc . Oden for l"ines from 11 ••• s ~Jhen Emot ion Too Far Exceeds Its Cause" from Kaleidos co pe , edited by Robe rt Hayden. Copyright ~ 1967 by G.• Oden. Reprinted by permi ss ion of t he author . Pat Park r f or li r.~s frc:11 Parker. J;;) 11 Bro t he~11 from Child of Myse l.f., copyri ght © 1972 by Pat Re pri nt ed by permi ss ion of t he au t ho r. Dudley Randall for 11 / Iwo Jim;" from More/4 Remember, copyright© 1971 by Dudl ey A ~r / Randall. Reprinted by perniission of Third World Press, 7524 South Cottage Grove, Chicago, 111. 60619. Eugene Redmond for lines from "Invasion of the Nose . I 11 from River of Bones and Flesh and Blood, copyright© 1971 by Eugene Redmond, and "Inside My Perimeter" from In A Time of Rain & Desi re, copyri ght@ 1973 by Eugene Redmond. perm i ssion of Bl ack Ri ve r Writers f.,.t, (' . • 11 Reprinted by �Conrad Kent Rivers for lin es from "In Defense of Black Poets" and "The Still Voice of Harlem" and for "Watts" from The Still Voice of Harl em , Volume 5 in the J Heritage Series, published by Paul Bremen limited, london, 1968, copyright© ..:. 1972 by Mrs. Cora Mciver Rivers; "To Richard Wrigh r from The i ,. Wright Poems, Vol ume 18 in the Heritage Series, published by Paul Bremen Limited, London, 1972. Copyright © 1972 by Mrs. Cora Mciver Rivers. Reprinted by permission of Paul Bremen Limited. Sonia Sanchez for lines from Ma lcol ~ from Homecomi ng , copyrig ht © 1969 by Sonia 11 Sanchez. 11 Repr i nted by perm i ss i on of Broad side Press . Judy ?·othar.d Si nm1ons for li nes from Schizoph renia/ from Judit h' s Blues , copyri gh t 11 © 1973 by J udy Do t hard Si rrmo ns. Repri nted by pennissi on of Broadside Pres s. LeRoy Stone f or l ines f rom Fl umcnco Sketches 11 11 I from Burning Spea r : An Ant ol oav of J\f ro-Su."On P0e tr.. , cooyrJght 1c 1953 by t he Dase in li terary Society . - ·- - . ---. ~ by perm ission of J upiter H~,r:w-non Pre5s of Oast.: i n literary Soc-iety . - Reprint,.:d " Joyce Carol Thomas for lines from 1974 by Joyce Carol Thomas. 11 ··- ', , ., . .. Melvin Tolson for lines from "Rendezvous with America," "Dark Symphony" and "An Ex-Judge at the Ba5 from Rendezvous with Amer1 ca, copyright© 1944 by 11 Reprinted by pennission of Dodd, Mead & Company, Inc.; l ; ,., : Reprinted by pennission of Firesign Press. Box 12 •' :. 1 Know a Lad~" f rom Crysta l Breezes , copyri ght © 402. Berkeley, Calif . Melvin Tolson. . . •.~ / r �I for lines from 11 D0, 11 11 00 11 and 11 Tf 11 from Libretto for t he Repub lic of Liber i a J ' ~ -; by Melvin B. Tolson, copyright © l953 by Twayne P.ublishers, I nc . ; and '-li nes .~,.. "Alpha," / 11 Beta, 11 11 Eta, 11 11 Gallllla, 11 11 lambda, 11 "X II and "Ze t a/ 1 from Harl em Gallery; by Melvin B. Tolson, copyright © 1956 by Twayne Publishers, Inc. pennission of Twayne Publishers, f Division of G. . Hall Reprinted by &Co. Jean Toomer for lines from "Song of the Son/ f rom Cane , copyr ight @ 1923 by Bon i & Liveright; copyright renewed 1951 by Jean Toomer. Reprinted by permissi on r,, of Liveri ght Pu bli sh ing Co•peration . Jean Toome r f or ~.,,..51 li nes fr om •~Blue Mer i dian;' f rom Bl ack Writers of Ame ric a , edited by Ri chard Barksda l e and ~eneth Kin namon , co pyrigh t© l 97 2 by The ~~ ill an C~mp_a~y .;'!ep ~i nt~~ -bi ) 1 penni ss i on of W. I. Nor t on & Company , I n9 Company , Inc . Copyr i ght 1936 by ~i.\H. Nort on & Copyr i ght ren ewed 1964 by Lew i s Mumford , cofeditor wi th A1fred Kreymborg, of The New Carava n. -- , 'i .. ; -~·.,.: . '. Q\ Quincy Troupe for "White Weeken~" from Embryo, copyright © 1972 by Quincy Troupe~ . Reprinted by pennission of Quincy Troupe. Alice Walker . for lines from "Rage" from Revolutionary Petuni as & Other Poems, I copyright © 1973 by Alice Walker. Reprinted by penn ission of Harcour t Janovich, Inc. 13 Brace I• ' ~ . , ~~ . ' ;}~'",. �Romenetha Washington for lines from Rat Ractf from Sides 'of the River: -,., A Mini :: 11 Anthology of Black Writing, edited and copyright@l969 by Eugene Redmond. Reprinted by pennission of Black River Writers Press. Lucien B. Watkin5 for lines from A Prayer of the Race That God Made Blac5 from 11 11 Negro Poets and Their Poems , edited by Thoma s Kerlin. by The Associated Publishers, Inc. Copyri gh t © 1923, 193~ Reprinted by pennis sion of The Associ ated Publishers, Inc. Joseph White for li nes from 8l ack Is a Sou l 11 from Bur ni ng Spear: 11 ) 0 An Antho l ogy of Afro-Saxon Poe t ry , copyrig ht © 1963 by the Dasei n Li tera ry Soci ety. / by pennis sion of Ju pi te r HalTillon Pres s ~ Reprinted Das ei n Litera ry Soci ety . j Richa r d ~/right for specifi ed lines f rom "Between th e Horld and Mc , 1935 by Th~ Pz:rtisan nevieH, by · he Pa rt1s an Revi e~ . nd 11 11 n copyr ight © 1 Huve Seen Bl ack Hands , 11 copyri ght lc,1935 ,. Reprin ed by permission of Pau l R. Reynol ds, Inc . ~ ..: • I : l, • ~ '• ~ t ·. ~ I~ , ·.: · · -: : \,," ·• ,! .... . -. ,• � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eugene B. Redmond Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context EBRWritings_07_17 Title A name given to the resource Copy of Poetry Acknowledgements, typed manuscript with handwritten edits Relation A related resource Eugene B. Redmond Digital Collection Language A language of the resource English Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> or contact <a href="mailto:library@siue.edu">library@siue.edu</a> for direct inquiries. In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Type The nature or genre of the resource Text Creator An entity primarily responsible for making the resource Redmond, Eugene B. https://digitallis.isg.siue.edu/files/original/4a180265ad5b22eb79ce1c75ba42db92.jpg 3ddeaf294525cee5f92241ed530ef34f Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Corky Siegel Chamber Blues Description An account of the resource This photo shows Corky Siegel Chamber Blues giving a demonstration at Southern Illinois University of Edwardsville. Date A point or period of time associated with an event in the lifecycle of the resource 1994 Format The file format, physical medium, or dimensions of the resource .jpg Identifier An unambiguous reference to the resource within a given context 94_022_Siegel_001 https://digitallis.isg.siue.edu/files/original/74654e22ca6d19340817647d8b23bd73.jpg c79ced3fc00c0163e315707f16dea461 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Corky Siegel Chamber Blues Description An account of the resource This photo shows Corky Siegel Chamber Blues giving a demonstration at Southern Illinois University of Edwardsville. Date A point or period of time associated with an event in the lifecycle of the resource 1994 Format The file format, physical medium, or dimensions of the resource .jpg Identifier An unambiguous reference to the resource within a given context 94_022_Siegel_002 https://digitallis.isg.siue.edu/files/original/f2e8938089773691c5a3a8b72402eda5.jpg cd243261d0a3f06e184674445ef7b084 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Corky Siegel Chamber Blues Description An account of the resource This photo shows Corky Siegel Chamber Blues giving a demonstration at Southern Illinois University of Edwardsville. Date A point or period of time associated with an event in the lifecycle of the resource 1994 Format The file format, physical medium, or dimensions of the resource .jpg Identifier An unambiguous reference to the resource within a given context 94_022_Siegel_003 https://digitallis.isg.siue.edu/files/original/c7bf5ae97b52a6b19b55968d170226cb.jpg ed5f288b1d89ca18c7bf4ea3eab3204a Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dallas Brass Description An account of the resource This photo shows Dallas Brass performing at Southern Illinois University of Edwardsville. Date A point or period of time associated with an event in the lifecycle of the resource 2005 Format The file format, physical medium, or dimensions of the resource .jpg Identifier An unambiguous reference to the resource within a given context 05132_004_DallasBrass https://digitallis.isg.siue.edu/files/original/e69a4733a783bc0c1e95f8b7216a7368.jpg 076fd849a842389758eb736487f254c2 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource David McCullough Description An account of the resource This photo shows David McCullough speaking at Southern Illinois University of Edwardsville. Date A point or period of time associated with an event in the lifecycle of the resource 2005 Format The file format, physical medium, or dimensions of the resource .jpg Identifier An unambiguous reference to the resource within a given context 05333_045_McCullough https://digitallis.isg.siue.edu/files/original/4286d57fe27dc19376b9d19d108045d1.jpg 93e94011f78cbb163ad31abb95558b23 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource David McCullough Description An account of the resource This photo shows David McCullough speaking at Southern Illinois University of Edwardsville. Date A point or period of time associated with an event in the lifecycle of the resource 2005 Format The file format, physical medium, or dimensions of the resource .jpg Identifier An unambiguous reference to the resource within a given context 05333_049_McCullough https://digitallis.isg.siue.edu/files/original/ab6847fa8f3eefc9c464c68eb664945d.jpg db4c5376283d172a03bdb6e378aea055 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data photo Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource David McCullough Description An account of the resource This photo shows David McCullough speaking at Southern Illinois University of Edwardsville. Date A point or period of time associated with an event in the lifecycle of the resource 2005 Format The file format, physical medium, or dimensions of the resource .jpg Identifier An unambiguous reference to the resource within a given context 05333_053_McCullough https://digitallis.isg.siue.edu/files/original/ef6506ec0994680e2428d26b03e182ae.jpg 55e3405f8764bd0df8ff2ae2f6ec5660 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Moving Image A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Player <iframe width="480" height="270" src="//www.youtube.com/embed/SW2Rgqnn2HU" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> Imported Thumbnail If a thumbnail images was imported for an embedded video, its id is recorded here and the thumbnail is hidden on pages displaying the embedded video itself. https://i.ytimg.com/vi/SW2Rgqnn2HU/default.jpg Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Decatur 2011 - Jean Kittrell with STL Rivermen - Downhearted Blues Description An account of the resource Jeannie gives her all on Bessie Smith's classic - with the help of Red Lehr and the St. Louis Rivermen. Jean Kittrell - vocals, Red Lehr - sousaphone, Noel Kaletsky - clarinet, Steve Lilley - cornet, Jim Maihack - trombone, Ray Templin - piano, Bobby Grimm - banjo, Don Schroeder - drums Date A point or period of time associated with an event in the lifecycle of the resource 2011-02-14T15:25:48.000Z Source A related resource from which the described resource is derived http://youtu.be/SW2Rgqnn2HU Rights Information about rights held in and over the resource <a href="https://www.youtube.com/static?template=terms">Standard YouTube License</a> Creator An entity primarily responsible for making the resource Beth Schweitzer<br />published via YouTube.com Relation A related resource Jean Kittrell Digital Collection Bessie Smith,Downhearted Blues,dixieland,jazz,trad jazz,new orleans,female vocalis