Translate

Showing posts with label poems. Show all posts
Showing posts with label poems. Show all posts

Tuesday, December 17, 2024

Les Crane's 1971 Song Of Max Ehrmann's 1927 Poem "Desiderata" (with information & lyrics)


EVERSAW HARDROCK, Oct 4, 2012

I'm a child of the universe no less than the trees and the stars I have a right to be here.  Happy Birthday Eversaw (aka) Hardrock 10/4/2012

****
Edited by Azizi Powell

This pancocojams post showcases a YouTube video of the poem "Desiderata" by Max Ehrmann with a reading of this poem by Les Crane.

The content of this post is presented for historical, cultural, and inspirational purposes.

All copyrights remain with their owners.

Thanks to  Max Ehrmann for writing the poem "Desiderata" and thanks to Les Crane for recording that poem. Thanks also to all those who were associated with this showcased video.
-snip-
Although the mission of pancocojams is to showcase Black cultures throughout the world, this post doesn't mean or imply that this poem and song originated from Black people. Both Max Ehrmann, the writer of "Desiderata" and Les Crane, the man reading this poem in this and in some other video recordings, were White Americans. 

****
DESIDERATA: WORDS FOR LIFE
(by Max Enhrmann)

Go placidly amid the noise and haste,
and remember what peace there may be in silence.
As far as possible without surrender
be on good terms with all persons.
Speak your truth quietly and clearly;
and listen to others,
even the dull and the ignorant;
they too have their story.

Avoid loud and aggressive persons,
they are vexations to the spirit.
If you compare yourself with others,
you may become vain and bitter;
for always there will be greater and lesser persons than yourself.
Enjoy your achievements as well as your plans.

Keep interested in your own career, however humble;
it is a real possession in the changing fortunes of time.
Exercise caution in your business affairs;
for the world is full of trickery.
But let this not blind you to what virtue there is;
many persons strive for high ideals;
and everywhere life is full of heroism.

Be yourself.
Especially, do not feign affection.
Neither be cynical about love;
for in the face of all aridity and disenchantment
it is as perennial as the grass.

Take kindly the counsel of the years,
gracefully surrendering the things of youth.
Nurture strength of spirit to shield you in sudden misfortune.
But do not distress yourself with dark imaginings.
Many fears are born of fatigue and loneliness.
Beyond a wholesome discipline,
be gentle with yourself.

You are a child of the universe,
no less than the trees and the stars;
you have a right to be here.
And whether or not it is clear to you,
no doubt the universe is unfolding as it should.

Therefore be at peace with God,
whatever you conceive Him to be,
and whatever your labors and aspirations,
in the noisy confusion of life keep peace with your soul.

With all its sham, drudgery, and broken dreams,
it is still a beautiful world.
Be cheerful.
Strive to be happy.
-Online Source: https://www.cse.cuhk.edu.hk/~cslui/desiderata.html

****
INFORMATION ABOUT THE POEM "DESIDERATA"
Excerpt #1: https://en.wikipedia.org/wiki/Desiderata
"Desiderata"(Latin: "things desired") is a 1927 prose poem by the American writer Max Ehrmann. The text was widely distributed in poster form in the 1960s and 1970s.

History

Max Ehrmann of Terre Haute, Indiana started writing the work in 1921,[citation needed] but he did not assign it a title. He registered for his U.S. copyright in 1927 using the poem's first phrase as its title. The April 5, 1933 issue of Michigan Tradesman magazine published the full, original text on its cover, crediting Ehrmann as its author. In 1933, he distributed the poem in the form of a Christmas card,[1] now officially titled "Desiderata."[2]

Psychiatrist Merrill Moore distributed more than 1,000 unattributed copies to his patients and soldiers during World War II.[1] After Ehrmann died in 1945, his widow published the work in 1948 in The Poems of Max Ehrmann. The 1948 version was in the form of one long prose paragraph, so earlier and later versions were presumably also in that form.[1][3]

The reverend Frederick Kates distributed about 200 unattributed copies as devotional materials for his congregation at Old Saint Paul's Church, Baltimore during 1959 or 1960.[1][3] The papers mentioned the church's foundation date of 1692, which has caused many to falsely assume that the date is that of the poem's origination.[4][5]

The text was widely distributed in poster form in the 1960s and 1970s, often with the incorrect date of 1692.[6] It was first partitioned into a few subparagraphs separated by "distinctive spacing figures" in 1970 by Pro Arts and Crescendo Publishers.[7] Later, it was divided into four or more subparagraphs separated by new lines in DePauw University's Mirage for 1978[8] and in the July/August 1999 issue of The Saturday Evening Post.[9] In some versions, almost all instances of "and" are replaced by ampersands.[10] Other versions change "the noise and the haste" to "the noise and haste" and change "be cheerful" to "be careful," notably in the 1971 spoken-word recording by Les Crane.[11]

Copyright status

[…]

The poem is now officially in the public domain throughout the U.S., as written works registered before 1928 entered the public domain in 2023

Significant usages of the poem

[…]

In 1971, Les Crane used a spoken-word recording of the poem as the lead track of his album Desiderata.[20] His producers had assumed that the poem was too old to be copyrighted, but the publicity surrounding the record led to clarification of Ehrmann's authorship and the eventual payment of royalties. Crane's version peaked at #4 in Australia in December 1971.[21]

In 2010, Ehrmann's hometown of Terre Haute, Indiana unveiled a bronze statue by Bill Wolfe of Ehrmann sitting on a park bench.[22]

Following his government's loss of majority in the 1972 Canadian federal election, prime minister Pierre Trudeau reassured the nation by quoting Desiderata: "Whether or not it is clear to you, no doubt the universe is unfolding as it should.

[...]

In a 2012 interview on Oprah Winfrey's Master Class television special, actor Morgan Freeman explained how deeply the poem had shaped his life.[25]

When former Illinois governor and U.S. ambassador to the United Nations Adlai Stevenson died in 1965, a copy of the poem was found near his bedside, as he had planned to use it in his Christmas cards. This discovery contributed further to the poem's popularity.[4]"...

****
Excerpt #2
From https://www.dictionary.com/e/desiderata/  "Lexical Investigations: Desiderata", March 19, 2013
"Desiderata is a plural noun, with the singular form desideratum, meaning “things wanted or needed.”

For many, the word desiderata most often evokes a famous poem by Max Ehrmann, written in 1927 and often referred to simply as Desiderata, without attribution or quotation marks. The poem begins with the oft-quoted lines, “Go placidly amid the noise and the haste, / and remember what peace there may be in silence.”

Though the poem has achieved a mythic quality and a near-spiritual significance for some, it wasn’t well known until the 1970s when it was made into hugely popular posters and sound recordings. Even Leonard Nimoy of Star Trek fame included a spoken-word rendition of Desiderata on his 1968 album Two Sides of Leonard Nimoy in the track “Spock Thoughts.” Listen to “Spock Thoughts” here.

Desiderata can be traced back to the 19th century, when it became fashionable for English-speakers to use little-known Latin words in place of shorter, more common Anglo-Saxon terms. Latin words were thought to be more elegant and more precise than their English counterparts, and the users of these words no doubt hoped to be seen as more intellectual and sophisticated. Desiderata gained popularity in the early 1800s as part of this trend, which had many critics. In 1864, Henry Alford wrote that English “is undergoing a sad and rapid process of deterioration. Its fine manly Saxon is getting diluted into long Latin words not carrying half the meaning.” Many, like Alford, considered Latinate words pretentious, and advocated for what they considered a purer form of English.

Spanish and French also absorbed desiderata from Latin, and the word continues to have the same meaning in both languages today.

Some writers misuse desiderata as a singular noun. The correct singular form is desideratum."...

****
INFORMATION ABOUT THE LES CRANE "DESIDERATA"  ALBUM
from https://en.wikipedia.org/wiki/Desiderata_(Les_Crane_album)
"
Desiderata is a 1971 album by Les Crane with music by Broadway composer Fred Werner and concept and various lyrics by David C. Wilson. It is a spoken-word album with sung refrains and instrumental accompaniment. The title and title track come from the widely circulated poem "Desiderata", which was widely perceived as ancient wisdom and not known to be a 1927 poem by Indiana lawyer Max Ehrmann.

Crane's supporting musicians included singer Evangeline Carmichael, whose daughter Carol Carmichael sang the "child of the universe" refrain on the title track, with musicians including keyboardist Michel Rubini, guitarist Louie Shelton, flautist Jim Horn and two percussionists, Joe Porcaro and Emil Richards. The album won the Grammy Award for Best Spoken Word Album.[2]"...

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Tuesday, February 8, 2022

"Hey Black Child" Poem Recited By Pe’Tehn Raighn-Kem (2015) And By Kaleb Porter (2021)



Windy City LIVE, Feb.  25, 2015

This little DYNAMO is a must see, and she's from right here in Chicago! Meet 3-year-old Pe’Tehn Raighn-Kem from Bronzeville! Take a look of her performing “Hey, Black Child” on Windy City Live! -snip-
Three year old Pe’Tehn Raighn-Kem incorrectly attributed this poem to African American poet, novelist, children's writer, and playwriight Countee Cullen (May 30, 1903 – January 9, 1946). Click https://en.wikipedia.org/wiki/Countee_Cullen for information about Countee Cullen.

****
Edited by Azizi Powell
 
This pancocojams post showcases wo YouTube videos of the poem "Hey Black Child" and provides the words to that poem. Information about Useni Eugene Perkins, the author of that poem is also included in this post.

The content of this post is presented for cultural, inspirational, purposes.

All copyrights remain with their owners.

Thanks to Useni Eugene Perkins for his cultural legacy. Thanks also to Pe’Tehn Raighn-Kem and to Kaleb Porter for their recitation of this poem. Thanks to the publishers of these videos and thanks to all those who are quoted in this post.
-snip-
Click 
http://pancocojams.blogspot.com/2015/10/useni-eugene-perkins-hey-black-child.html for a 2015 pancocojams post on this poem. That post presents information about Useni Eugene Perkins and also contains several visitor comments. 

****
PANCOCOJAMS EDITOR'S NOTE
A number of websites, YouTube videos, and comments on YouTube discussion threads mistakenly indicate that Countee Cullen is the author of the inspirational poem "Hey Black Child". Other websites, YouTube videos, and discussion thread comments attribute that poem to Maya Angelou.  In the now viral* 2015 video of a three year old African American girl (Pe’Tehn Raighn-Kem) reciting "Hey Black Girl", Countee Cullen was named as the author of that poem.   

 The actual author of "Hey Black Child" is Useni Eugene Perkins.

*There are several YouTube videos of reciting "Hey Black Child". As of Feb. 8, 2022 at 9:40 PM ET, the first YouTube video clip that was published of that television recitation by 
Pe’Tehn Raighn-Kem (on Chicago, Illinois' Windy City LIVE daytime talk show) Feb. 25, 2015 has 10,969,422 views. 

****

SHOWCASE VIDEO #2: Black History Moment: Hey Black Child



fbcsomerset, Feb. 21, 2022

****

INFORMATION ABOUT USENI EUGENE PERKINS
"Useni Eugene Perkins is a distinguished poet, playwright and youth worker. Born in Chicago on September 13, 1932, he was the son of Marion Perkins, a sculptor, and Eva Perkins. Being exposed to the arts at a young age through his father would prove to be a major influence on his later years...

In [1966], Perkins became the executive director of the Better Boys Foundation of Chicago, a social agency involved in community, social, educational and cultural development. Raised in the housing projects of Chicago, and having established a career as a sociologist dealing with troubled youth, he authored the 1976 book Home Is A Dirty Street: The Social Oppression of Black Children.

Upon leaving his post with the Better Boys Foundation in 1982, Perkins became an executive consultant in Chicago with INESU Consultants, where he stayed for two years. He was still very active in writing, penning several sociological books on African American youth, as well as publishing books of poetry and authoring various plays that were produced in theaters in Chicago."... 

****
WORDS TO "HEY BLACK CHILD"
(Useni Eugene Perkins)

Hey Black Child,
Do you know who you are?
Who you really are?
Do you know you can be
What you want to be?
If you try to be
what you can be.

Hey Black Child,
Do you know where you’re going?
Where you’re really going?
Do you know you can learn
What you want to learn?
If you try to learn
What you can learn?

Hey Black Child,
Do you know you are strong?
I mean really strong?
Do you know you can do
What you want to do?
If you try to do
What you can do?

Hey Black Child,
Be what you can be
Learn what you must learn
Do what you can do
And tomorrow your nation will be
what you want it to be

Source: https://specialedandme.wordpress.com/2008/08/25/hey-black-child-by-eugene-useni-perkins/

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Monday, October 19, 2015

The REAL Author of The Poem "Hey Black Child" : Useni Eugene Perkins

Edited by Azizi Powell

Latest revision: Feb. 8, 2022 

This pancocojams post showcases the poem "Hey Black Child" and provides information about its author. A YouTube video of three year old Pe’Tehn Raighn-Kem reciting that poem is also included in this post.

The content of this post is presented for cultural, inspirational, purposes.

All copyrights remain with their owners.

Thanks to Useni Eugene Perkins for his cultural legacy. Thanks also to Pe’Tehn Raighn-Kem who is featured in the video embedded in this post, thanks to the publisher of that video, and thanks to all those who are quoted in this post.
-snip-
Click https://pancocojams.blogspot.com/2022/02/hey-black-child-poem-recited-by-petehn.html for a 2022 pancocojams post entitled "Hey Black Child" Poem Recited By Pe’Tehn Raighn-Kem (2015) And By Kaleb Porter (2021)"

****
PANCOCOJAMS EDITOR'S NOTE
A number of websites, YouTube videos, and comments on YouTube discussion threads mistakenly indicate that Countee Cullen is the author of the inspirational poem "Hey Black Child". Other websites, YouTube videos, and discussion thread comments attribute that poem to Maya Angelou.  In the now viral* 2015 video of a three year old African American girl (Pe’Tehn Raighn-Kem) reciting "Hey Black Girl", Countee Cullen was named as the author of that poem.   

 The actual author of "Hey Black Child" is Useni Eugene Perkins.

*There are several YouTube videos of reciting "Hey Black Child". As of Feb. 8, 2022 at 9:40 PM ET, the first YouTube video clip that was published of that television recitation by Pe’Tehn Raighn-Kem (on Chicago, Illinois' Windy City LIVE daytime talk show) Feb. 25, 2015 has 10,969,422 views. 


****
SHOWCASE VIDEO: 3-year-old blows away audience with poem for Black History Month!



Windy City LIVE, Feb. 25, 2015

This little DYNAMO is a must see, and she's from right here in Chicago! Meet 3-year-old Pe’Tehn Raighn-Kem from Bronzeville! Take a look of her performing “Hey, Black Child” on Windy City Live!

****
INFORMATION ABOUT USENI EUGENE PERKINS
A number of websites, YouTube videos, and comments on YouTube discussion threads indicate that Countee Cullen is the author of the inspirational poem "Hey Black Child". Other websites, YouTube videos, and discussion thread comments attribute that poem to Maya Angelou. However, after reading several online articles and comments I believe that the real author of "Hey Black Child" is Useni Eugene Perkins.

From http://www.thehistorymakers.com/biography/useni-eugene-perkins-39
"Useni Eugene Perkins is a distinguished poet, playwright and youth worker. Born in Chicago on September 13, 1932, he was the son of Marion Perkins, a sculptor, and Eva Perkins. Being exposed to the arts at a young age through his father would prove to be a major influence on his later years...

In [1966], Perkins became the executive director of the Better Boys Foundation of Chicago, a social agency involved in community, social, educational and cultural development. Raised in the housing projects of Chicago, and having established a career as a sociologist dealing with troubled youth, he authored the 1976 book Home Is A Dirty Street: The Social Oppression of Black Children.

Upon leaving his post with the Better Boys Foundation in 1982, Perkins became an executive consultant in Chicago with INESU Consultants, where he stayed for two years. He was still very active in writing, penning several sociological books on African American youth, as well as publishing books of poetry and authoring various plays that were produced in theaters in Chicago."...

****
MORE INFORMATION AND COMMENTS ABOUT "HEY BLACK CHILD"
From http://arinmaya.bandcamp.com/track/hey-black-child
"About "Hey Black Child
Hey Black Child was originally a song that was adapted into a poem, written by Chicago-based and -born writer Useni Eugene Perkins (NOT Countee Cullen) for his play "The Black Fairy." It was performed at the Lamont Zeno Theater at the Better Boys Foundation on Chicago's South Side for over 5,000 children and adults in Chicago, and then in Detroit, from 1974 to 1975. So anniversary wishes are in order! And much gratitude to Useni Eugene Perkins for his inspiring work.

Somewhere in me, I knew the author of the poem had Chicago ties (Chi-town stand up!), so I'm glad to have been corrected, so as to continue the thread of honoring Chicago poets in these shadow days of National Poetry Month. ...and who knows? Maybe one day I'll be part of a re-staging of "The Black Fairy" :) "
-snip-
This website includes a sound file of this poem: Music by Blackdaylight. Vocal arrangement and voice(s) by ArinMaya."

A number of commenters wrote that they recall having posters of the poem "Hey Black Child". Other commenters wrote that they had recited the poem "Hey Black Child" in Black history month oratorical contests.

****
WORDS TO "HEY BLACK CHILD"
(Useni Eugene Perkins)

Hey Black Child,
Do you know who you are?
Who you really are?
Do you know you can be
What you want to be?
If you try to be
what you can be.

Hey Black Child,
Do you know where you’re going?
Where you’re really going?
Do you know you can learn
What you want to learn?
If you try to learn
What you can learn?

Hey Black Child,
Do you know you are strong?
I mean really strong?
Do you know you can do
What you want to do?
If you try to do
What you can do?

Hey Black Child,
Be what you can be
Learn what you must learn
Do what you can do
And tomorrow your nation will be
what you want it to be

Source: https://specialedandme.wordpress.com/2008/08/25/hey-black-child-by-eugene-useni-perkins/

****
Thanks for visiting pancocojams.

Visitor comments are welcome.

Tuesday, February 26, 2013

Muhammad Muwakil - "4.00 am in Belmont" (Jamaican Spoken Word)

Edited by Azizi Powell

This post showcases the Jamaican spoken word composition "4.00 am in Belmont" by Muhammad Muwakil.

A video of Muhammad Muwakil sharing that composition and a transcription of that composition is found in this post. Excerpts from an online article on Muhammad Muwakil & selected comments from that video's YouTube comment thread are also included in this post.

The content of this post is provided for historical, folkloric, motivational, and aesthetic purposes.

All copyrights remain with their owners.

****
FEATURED VIDEO
4.00 am in Belmont - Muhammad Muwakil



Christopherlaird, Uploaded on Oct 22, 2007

Young Trinidadian poet performs on Gayelle
-snip-
Here are 3 comments from this video's viewer comment thread
http://www.youtube.com/watch?v=L3QZLGX1P8w

jazzbwoym 2009
"Wow...a powerful truth...I grew up in Belmont Port of Spain so I familiar wit the scenes u describe bruh. Keep up the good work.

**
wirechair, 2009
"yeh fo' real this man does jus set a certain atmosphere when he reciting."
**
navidhendrix, 2011
"Hands down one of the BEST descriptions I have ever heard about the crime and poverty situation in Trinidad and Tobago.

This stroke of brilliance should actually be studied in schools.

I heard him perform this piece a few times and the silence of the crowd is palpable as they absorb and understand the meaning of these words.

Beautiful, just beautiful."

****
TRANSCRIPTION: 4.00 am IN BELMONT
(Muhammad Muwakil)
It’s 4:00 am.
Amen. I still alive.
Belmont didn’t take my life last night.
I jump up twice out my sleep.
I thought a man was in my house.
‘Cause where I from we don’t sleep easy.
In the house is just granny and me
and she always ‘fraid someone gonna ‘tief she things
but it really she life she fraid for.
“Go back in your bed, son. The sun she start risin.”
Gosh, granny, I writtin.”
“But son, it’s half past 1.
“No granny, it’s 4 am.
Can’t you smell de blood?
Can’t you hear that one persistent dog that has been
barkin since yesterday?
He’s just happy to be alive this morning.”
Instead of barkin I prayin ‘cause I understand exactly
what that dog feelin.
Demons prowlin, cocaine itchin under their skin
So they sinnin to sniff other people’s sweat and tears away.
Cocaine no have no friend,
Especially in Belmont when it’s 4 am.
And it’s almost like I can hear the scrap of a spoon
at the bottom of an empty content milk as mothers
in the valley road try to make miracles before de babies wake up.
It’s de second day of school and de lunch kit new
but it have nothing to put in it.
And the school book fresh off the de shelf
but de ‘fraid to even look in it.
De afraid to have de heart broken by assumptions de made before.
Too many over educated cocaine dealers under street lamps.
Our futures are not secure.
And tomorrow is not promised to beast or men
especially in Belmont when it’s 4 am.
Roosters screamin their lungs out tryin to call de sun up
But aqui he is not listenin.
And it’s gonna take more than the blarin of cocks to wake my people up.
And I have 19 locks on my house, not countin de ones on de windows
Because in those few hours before sun rise, gunshots usher souls away from
the realm of men.
A way to understand me when I say it’s 4 am.
So buy a dream from a crackhead and stitch it to de fabric of your being to begin to understand de meaning of mayhem.
Pray for your life, forever and ever, amen
in Belmont when it’s 4 am.
-snip-

*Transcription by Azizi Powell from the video.
Note: I'm not Jamaican and I don't speak Jamaican Patois. As sucn, my transcription is incomplete and some words may be wrong.
Italics mean that I'm not sure of the transcription.

I'm not sure if I correctly placed the quotation marks around the comments that the speaker had with his granny.

I think that the phrase that I heard as "content of milk" means containers of milk.

Even though I'm not the best person to transcribe this composition, I think that its words are so powerful, so insightful, and so significant that it should be documented in text form online. My hope is that someone from Jamaica, or otherwise knowledgeable about Jamaican patoise will correct this attempt at transcription.

****
EXCERPT OF A CARIBBEAN BEAT ARTICLE ABOUT MUHAMMAD MUWAKIL
From http://caribbean-beat.com/issue-117/muhammad-muwakil-world-change Caribbean Beat, Nazma Muller, September, October 2012
"
“Listening to Muhammad Muwakil can be painful. And it’s not because of his singing. Even when he does spoken-word poetry you want to cover your ears and run away. Those who hear his musings on “4 am in Belmont” reel at images of over-educated cocaine dealers under streetlamps, and the sound of gunshots that “usher souls away from the realm of men.” Unrelenting, Muwakil unleashes lines like: “buy a dream from a crackhead and stitch it to the fabric of your being to begin to understand the meaning of mayhem.”...

Muhammad Abdul Quddus Muwakil is the quintessential Trini: a mélange of cultures, histories, and genes. Although he often wears the colours and emblems of Rastafari, he is a practising Muslim, fluent in Arabic. His father named him after the Prophet, and Abdul Quddus translates as “slave of the Most High.”...

“Islam has influenced the core of my being, the way I live,” Muwakil says. “It has taught me to be respectful to others, to be truthful, and to give to the less fortunate.” This doesn’t prevent him from having questions, though. He challenges the Muslim belief that music is haram (forbidden). After all, he plays the guitar, flute, harmonica, and African djembe drums, and music reaches the audience that he most wants to reach: the youth.

He’s often invited to run workshops and give talks in secondary schools. He even gave an inspiring and earnest talk to University of the West Indies students about why he switched from chemical engineering to theatre and literature.

An historian for his twenty-first-century generation — he turns twenty-nine this year — Muwakil organised and performed at a fundraiser for the Memory Project, which will document the contribution of Black Muslims in Trinidad and Tobago, including their role in the 1990 coup attempt. As a UWI undergraduate, not content with battling the university authorities to recognise his performances in four major theatre productions as credits towards his degree (he won a national acting award for his role in Bitter Cassava in 2008), Muwakil started UWI Speak, an open-mic series that brought the spark of live student performances back to the campus.

Over the last five years, he has performed mainly spoken-word poetry, sharing the stage at one benefit concert with the most famous dub poet ever, Jamaica’s Mutabaruka...

With his Freetown brothers, Muwakil is part of a new wave of conscious young people from Trinidad and Tobago who want to stay in the Caribbean and rediscover their lost history — while making a little history of their own."

****
ACKNOWLEDGEMENT AND THANKS
Thanks to Muhammad Muwakil for the power, beauty, and creativity of this composition and of his other spoken word compositions.

Thanks also to the commenters and the author of the article that are quoted in this post. My thanks also to the uploader of this video.

Thank you for visiting pancocojams.

Viewer comments are welcome.

Monday, February 18, 2013

Langston Hughes - "Note on Commercial Theatre" (You've Taken My Blues And Gone)

Edited by Azizi Powell

This post presents a sound file of & words to Langston Hughes poem "Notes On Commercial Theatre". This post also includes an excerpt of a Wikipedia analysis of that poem, and my analysis of that poem which includes comments about the 2013 internet video craze "The Harlem Shake".

The content of this post is presented for historical, sociological, and aesthetic purposes.

All copyrights remain with their owners.

****

FEATURED SOUND FILE: LANGSTON HUGHES POETRY RECITAL c.1945 Part 4 of 4



cdbpdx,Uploaded on Jul 19, 2009

In 1945, ASCH records recorded a 78 rpm 4 record album set with Langston Hughes reciting his own poems. This is part 4 of 4 parts from that album, each part being both sides of one of the records in the album.

This record contains:

LITTLE SONGS
SILENCE
BURDEN
THE BREATH OF A ROSE
PRAYER
BORDER LINE
IN TIME OF SILVER RAIN
STILL HERE
BALLAD OF THE LANDLORD
BIG BUDDY
NOTE ON COMMERCIAL THEATER (good!)

This is an historic compilation. Enjoy!
-snip-
"Note On Commercial Theatre" is the last recitation on this sound file and begins at 5:06.

****
WORDS TO NOTES ON COMMERCIAL THEATRE
(Langston Hughes)

You've taken my blues and gone--
You sing 'em on Broadway
And you sing 'em in Hollywood Bowl,
And you mixed 'em up with symphonies
And you fixed 'em
So they don't sound like me.
Yep, you done taken my blues and gone.

You also took my spirituals and gone.
You put me in MacBeth and Carmen Jones
And all kinds of Swing Mikados
And in everything but what's about me--
But someday somebody'll
Stand up and talk about me,
And write about me--
Black and beautiful--
And sing about me,
And put on plays about me!
I reckon it'll be
Me myself!

Yes, it'll be me.

From http://www.skidmore.edu/~mstokes/227/hughes-poems.html

ANALYSIS OF LANGSTON HUGHES' "NOTES ON COMMERCIAL THEATRE"
From http://en.wikipedia.org/wiki/Note_on_Commercial_Theatre
"Langston Hughes was a prominent writer during the Harlem Renaissance, which is obvious in most of his poetry. Hughes writes about the issues of the day, and “Note on Commercial Theatre” is no different.

Roots vs. novelty

During the Harlem Renaissance, one of the main controversies was that African American culture became the “vogue” of the day. This included interest not only in black writing and art, but in the rising jazz and theatre scenes as well. Harlem became the hot spot for this new black culture; both black and whites explored and became immersed in it. Because it was so popular, many white people attempted to infuse their own art with the new African American styles, resulting in hybrid music and theatre (for example, a swing version of The Mikado, a comic opera).

Hughes was a huge proponent of creating a separate black identity and art, hence the extreme antipathy within “Note on Commercial Theatre” to black culture being absorbed by whites. This is reflected in his use of an experimental form for his poem; there is a lack of rhyme scheme and no discernible rhythm to the lines. Other black writers of the time, such as Countee Cullen, experimented within specific forms, but Hughes rejects form in this poem; he rejects the absorption into any other style but his own."...

****
EDITORIAL COMMENT, INCLUDING COMMENTS ABOUT THE HARLEM SHAKE MEME
I wonder if Langston Hughes's poem "Notes On Commercial Theatre" wasn't just concerned about "white attempts to infuse their own art with the new African American styles" or concerned about "black culture being absorbed by white". I wonder if Langston Hughes was also reflecting on how mainstream White society often failed to acknowlege Black people while loving Black cultural products.

Furthermore, I wonder if the impetus for Langston Hughes' "Note On Commercial Theatre" was also driven by the common practice then of White people reaping the economic benefit of Black creative products through the production & promotion of often watered down versions of that product - for instance, White singers recording "covers" of Blues songs composed by Black people.

It seems to me that in this so-called post-racial America more than 60 years after Langston Hughes wrote "Note On Commercial Theatre", there's still considerable reason for Black people to be concerned that we aren't given the credit for our artistic accomplishments. Not only is "White" still the default race, but also terms such as "traditional American" and "vernacular American" are used to categorize a number of Black art forms, including old time music/songs, and Swing dances.

To a considerable degree, that history & these present day realities may explain why some Black commentators & some non-Black commentators have expressed concerns about the recent Harlem Shake internet craze. Each of those numerous videos that have been uploaded to YouTube show groups of people, sometimes in diverse "Halloween" type costumes, wildly dancing in various ways to a song called "The Harlem Shake" that was released last year by a producer known as Baauer. Although each of these videos are entitled "The Harlem Shake", the dances performed by the people in those videos are have no resemblance to the Harlem Shake of the 1980s, and its popularized version in 2001. I think that the point of those new Harlem Shake videos is to show groups of people in specific settings letting down their hair, and being crazy for a change. And I find some of those videos funny. But I can also understand why Tamara Palmer, a commentator for The Root.com wrote that "a silly viral video craze [has] completely overshadowed the origins of a beloved old-school dance". I can also agree with Tamara Palmer's position that in those videos the Harlem Shake "has been all but stripped of its cultural context and meaning." http://www.theroot.com/views/harlem-shakedown?wpisrc=root_more_news.

And yet, in his poem "Notes On Commercial Theatre", Langston Hughes indicated that it was Black people's responsibility to share our stories. As such, the Harlem Shake internet video craze provides opportunities to talk about the history of White exploitation of Black people's cultural products, even though that may not be what is going on in those videos. The Harlem Shake internet video craze also provides opportunities to share information about Black dances -including the old Harlem Shake, and the Ethiopian Eskista dance which is said to have inspired that African American dance, though I don't believe that is actually true. And the Harlem Shake internet videos provides an opportunity for me to share one of my favorite Langston Hughes poems, Notes On Commercial Theatre" which since I first read it, I've always referred to by its first line "You've taken my Blues and gone".

RELATED LINK
http://pancocojams.blogspot.com/2013/02/the-origins-several-examples-of-harlem.html "The Harlem Shake (Origins, Old School Examples, & Internet Meme)"

****
ACKNOWLEDGEMENT AND THANKS
Thanks to Langston Hughes for his cultural legacy. My thanks also to the author of the articles that are quoted in this post, to the transcriber of this poem, and to the uploader of this featured sound file.


Thank you for visiting pancocojams.

Visitor comments are welcome.