Thejazz Poetry Anthology
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American Poetry in the Face of Violence
SCARS AMERICAN POETRY IN THE FACE OF VIOLENCE EDITED BY CYNTHIA DUBIN EDELBERG THE UNIVERSITY OF ALABAMA PRESS TUSCALOOSA AND LONDON CONTENTS PREFACE xiii ACKNOWLEDGMENTS xiv I. DOMESTIC VIOLENCE ALBERT GOLDBARTH Of Ontology 2 HARVEY SHAPIRO How Many Times 3 JANICE MIRIKITANI Autumn Comes 4 BRUCE WEIGL For the Wife Beater's Wife .. 5 JANICE MIRIKITANI Healthy Choices 6 RACHEL BLAU DUPLESSIS Medusa 8 JANICE MIRIKITANI Without Tongue 13 AMYCLAMPITT Meridian 14 ROBERT WRIGLEY The Creche 15 MAXINE KUMIN Leisure 16 Self-fulfilling Prophecy 16 ALICIA OSTRIKER The Boys, The Broomhandle, The Retarded Girl 17 SHARON OLDS Leaving the Island 18 VII GERALD STERN The Bull Roarer 19 MARK RUDMAN from Bottles 22 RITA DOVE Taking in Wash 24 ALICIA OSTRIKER The Leaf Pile 25 TOI DERRICOTTE Poem for My Father 27 DIANE WAKOSKI Wind Secrets 29 TOI DERRICOTTE My Father Still Sleeping After Surgery 30 PAMALA KAROL [LA LOCA] Crib Death 31 from The Mayan 34 TOI DERRICOTTE Abuse 38 CHARLES WRIGHT What I remember is fire, orange fire from Bloodlines 39 ELIZABETH McKIM Taking the Name 40 BRUCE WEIGL The Impossible 41 The Man Who Made Me Love Him 41 II. VIOLENCE AND RACE JAMES WELCH The Man From Washington 44 from Blackfeet, Blood and Piegan Hunters 44 Plea To Those Who Matter 44 VIII ADRIAN C. LOUIS Sunset at Pine Ridge Agency 45 Fullblood Girl on a Blue "Horse 46 Pabst Blue Ribbon at Wounded Knee 48 JOY HARJO For Anna Mae Pictou Aquash 49 LESLIE MARMON SILKO The Fourth World 50 YUSEF KOMUNYAKAA New Amsterdam 59 HENRY JOHNSON The Middle Passage 60 RITA DOVE Someone's Blood 62 YUSEF KOMUNYAKAA Modern Medea 63 History Lessons 63 MICHAEL WARR We Are All The Black Boy 65 Cabrini Gulag 65 WILLIAM LOGAN Seductions of the Swimming Club 66 ETHERIDGE KNIGHT A Fable 67 HAKI R. -
The Black Arts Enterprise and the Production of African American Poetry
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett. -
JUKEBOX JAZZ by Ian Muldoon* ______
JUKEBOX JAZZ by Ian Muldoon* ____________________________________________________ n 1955 Bill Haley’s Rock Around the Clock was the first rock and roll record to become number one on the hit parade. It had made a stunning introduction in I the opening moments to a film called Blackboard Jungle. But at that time my favourite record was one by Lionel Hampton. I was not alone. Me and my three jazz loving friends couldn’t be bothered spending hard-earned cash on rock and roll records. Our quartet consisted of clarinet, drums, bass and vocal. Robert (nickname Orgy) was learning clarinet; Malcolm (Slim) was going to learn drums (which in due course he did under the guidance of Gordon LeCornu, a percussionist and drummer in the days when Sydney still had a thriving show scene); Dave (Bebop) loved the bass; and I was the vocalist a la Joe (Bebop) Lane. We were four of 120 RAAF apprentices undergoing three years boarding school training at Wagga Wagga RAAF Base from 1955-1957. Of course, we never performed together but we dreamt of doing so and luckily, dreaming was not contrary to RAAF regulations. Wearing an official RAAF beret in the style of Thelonious Monk or Dizzy Gillespie, however, was. Thelonious Monk wearing his beret the way Dave (Bebop) wore his… PHOTO CREDIT WILLIAM P GOTTLIEB _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller. -
A Collection Analysis of the African-American Poetry Holdings in the De Grummond Collection Sarah J
SLIS Connecting Volume 2 | Issue 1 Article 9 2013 A Collection Analysis of the African-American Poetry Holdings in the de Grummond Collection Sarah J. Heidelberg Follow this and additional works at: http://aquila.usm.edu/slisconnecting Part of the Library and Information Science Commons Recommended Citation Heidelberg, Sarah J. (2013) "A Collection Analysis of the African-American Poetry Holdings in the de Grummond Collection," SLIS Connecting: Vol. 2: Iss. 1, Article 9. DOI: 10.18785/slis.0201.09 Available at: http://aquila.usm.edu/slisconnecting/vol2/iss1/9 This Article is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in SLIS Connecting by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. A Collection Analysis of the African‐American Poetry Holdings in the de Grummond Collection By Sarah J. Heidelberg Master’s Research Project, November 2010 Performance poetry is part of the new black poetry. Readers: Dr. M.J. Norton This includes spoken word and slam. It has been said Dr. Teresa S. Welsh that the introduction of slam poetry to children can “salvage” an almost broken “relationship with poetry” (Boudreau, 2009, 1). This is because slam Introduction poetry makes a poets’ art more palatable for the Poetry is beneficial for both children and adults; senses and draws people to poetry (Jones, 2003, 17). however, many believe it offers more benefit to Even if the poetry that is spoken at these slams is children (Vardell, 2006, 36). The reading of poetry sometimes not as developed or polished as it would correlates with literacy attainment (Maynard, 2005; be hoped (Jones, 2003, 23). -
ELLINGTON '2000 - by Roger Boyes
TH THE INTERNATIONAL BULLETIN22 year of publication OEMSDUKE ELLINGTON MUSIC SOCIETY | FOUNDER: BENNY AASLAND HONORARY MEMBER: FATHER JOHN GARCIA GENSEL As a DEMS member you'll get access from time to time to / jj£*V:Y WL uni < jue Duke material. Please bear in mind that such _ 2000_ 2 material is to be \ handled with care and common sense.lt " AUQUSl ^^ jj# nust: under no circumstances be used for commercial JUriG w «• ; j y i j p u r p o s e s . As a DEMS member please help see to that this Editor : Sjef Hoefsmit ; simple rule is we \&! : T NSSESgf followed. Thus will be able to continue Assisted by: Roger Boyes ^ fueur special offers lil^ W * - DEMS is a non-profit organization, depending on ' J voluntary offered assistance in time and material. ALL FOR THE L O V E D U K E !* O F Sponsors are welcomed. Address: Voort 18b, Meerle. Belgium - Telephone and Fax: +32 3 315 75 83 - E-mail: [email protected] LOS ANGELES ELLINGTON '2000 - By Roger Boyes The eighteenth international conference of the Kenny struck something of a sombre note, observing that Duke Ellington Study Group took place in the we’re all getting older, and urging on us the need for active effort Roosevelt Hotel, 7000 Hollywood Boulevard, Los to attract the younger recruits who will come after us. Angeles, from Wednesday to Sunday, 24-28 May This report isn't the place for pondering the future of either 2000. The Duke Ellington Society of Southern conferences or the wider activities of the Ellington Study Groups California were our hosts, and congratulations are due around the world. -
John Cornelius Hodges “Johnny” “Rabbit”
1 The ALTOSAX and SOPRANOSAX of JOHN CORNELIUS HODGES “JOHNNY” “RABBIT” Solographers: Jan Evensmo & Ulf Renberg Last update: Aug. 1, 2014, June 5, 2021 2 Born: Cambridge, Massachusetts, July 25, 1906 Died: NYC. May 11, 1970 Introduction: When I joined the Oslo Jazz Circle back in 1950s, there were in fact only three altosaxophonists who really mattered: Benny Carter, Johnny Hodges and Charlie Parker (in alphabetical order). JH’s playing with Duke Ellington, as well as numerous swing recording sessions made an unforgettable impression on me and my friends. It is time to go through his works and organize a solography! Early history: Played drums and piano, then sax at the age of 14; through his sister, he got to know Sidney Bechet, who gave him lessons. He followed Bechet in Willie ‘The Lion’ Smith’s quartet at the Rhythm Club (ca. 1924), then played with Bechet at the Club Basha (1925). Continued to live in Boston during the mid -1920s, travelling to New York for week-end ‘gigs’. Played with Bobby Sawyer (ca. 1925) and Lloyd Scott (ca. 1926), then from late 1926 worked regularly with Chick webb at Paddock Club, Savoy Ballroom, etc. Briefly with Luckey Roberts’ orchestra, then joined Duke Ellington in May 1928. With Duke until March 1951 when formed own small band (ref. John Chilton). Message: No jazz topic has been studied by more people and more systematically than Duke Ellington. So much has been written, culminating with Luciano Massagli & Giovanni M. Volonte: “The New Desor – An updated edition of Duke Ellington’s Story on Records 1924 – 1974”. -
81003893.Pdf
Kobe University Repository : Kernel タイトル An Analysis of Racial Solidarity in Lawson Inada’s Jazz Poetry Title 著者 Yoshioka, Yuka Author(s) 掲載誌・巻号・ページ 21世紀倫理創成研究,5:72-86 Citation 刊行日 2012-03 Issue date 資源タイプ Departmental Bulletin Paper / 紀要論文 Resource Type 版区分 publisher Resource Version 権利 Rights DOI JaLCDOI 10.24546/81003893 URL http://www.lib.kobe-u.ac.jp/handle_kernel/81003893 PDF issue: 2021-10-02 An Analysis of Racial Solidarity in Lawson Inada’s Jazz Poetry Yuka Yoshioka Introduction In this paper, I will discuss Asian American poetry reading with music. My goal in this paper is to solve a question: how did Asian American poets articulate their ethnicity through their poetry reading? Japanese American poets Lawson Fusao Inada (1938-) creates jazz poetry, which are devoted to the theme of his experience of Japanese American internment. Therefore, I will describe the historical racial issue in America through an examination of Lawson Fusao Inada’s poetry reading about a concentration camp, with an emphasis on the racial solidarity evoked by jazz music. Investigating jazz, which is created by non-African minorities, may lead to solving the complexity of multiculturalism in America. I. Lawson Fusao Inada and his Works Lawson Fusao Inada, a third-generation (sansei) Japanese American, was born on May 26, 1938 in Fresno, California. Inada’s family was living in the west side of Fresno which had a “racially mixed working-class community.”(Huang, 145) The place Inada and his family lived is divided by a railway from the white in the east and the minorities in the west. -
The Development of Duke Ellington's Compositional Style: a Comparative Analysis of Three Selected Works
University of Kentucky UKnowledge University of Kentucky Master's Theses Graduate School 2001 THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Eric S. Strother University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Strother, Eric S., "THE DEVELOPMENT OF DUKE ELLINGTON'S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS" (2001). University of Kentucky Master's Theses. 381. https://uknowledge.uky.edu/gradschool_theses/381 This Thesis is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Master's Theses by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF THESIS THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS Edward Kennedy “Duke” Ellington’s compositions are significant to the study of jazz and American music in general. This study examines his compositional style through a comparative analysis of three works from each of his main stylistic periods. The analyses focus on form, instrumentation, texture and harmony, melody, tonality, and rhythm. Each piece is examined on its own and their significant features are compared. Eric S. Strother May 1, 2001 THE DEVELOPMENT OF DUKE ELLINGTON’S COMPOSITIONAL STYLE: A COMPARATIVE ANALYSIS OF THREE SELECTED WORKS By Eric Scott Strother Richard Domek Director of Thesis Kate Covington Director of Graduate Studies May 1, 2001 RULES FOR THE USE OF THESES Unpublished theses submitted for the Master’s degree and deposited in the University of Kentucky Library are as a rule open for inspection, but are to be used only with due regard to the rights of the authors. -
Press Coverage That the Scranton Jazz Festival Has Received
scrantonjazzfestival.org SCRANTON JAZZ FESTIVAL ABOUT This summer The Scranton Jazz Festival will celebrate its 11th year at the historic Radisson Lackawanna Station Hotel and various downtown Scranton venues. Attracting international, national, and regional jazz/blues and world beat artists, the SJF has proven its true potential to become a long-term musical event. Only with your support, does the festival continue to have the opportunity for an enormous impact on the cultural and economic development of our region. Fostering America’s original art form, jazz, Scranton has a rich history, dating back to the 1930’s when two jazz legends, Tommy Dorsey and Jimmy Dorsey, performed regularly with the Scranton Sirens Jazz Band. Our area is also credited with hosting the first known recorded jazz festival, “The Cavalcade of Dixieland Jazz”, in 1951. Since its premiere in 2005 the festival has drawn audiences from the entire Mid-Atlantic region, resulting in tremendous notoriety and exposure to the international jazz world. The SJF can help revive our region as a cultural epicenter, spreading the arts throughout the northeast, no different than such festivals as Newport, Rhode Island; Saratoga Springs, Florida; and Monterey, California. With your generosity, to support this program, we will be able to significantly enrich our community and region. Your donation will help us to defer costs for production, artists fees, advertising, and promotional expenses. In addition, your contribution will enable us to receive matching funds, provided by local and state funding organiza- tions. Together, as a united team, we can make artistic magic happen for Scranton. How incredible would it be to see this festival, in time, be considered a major summer destination place for the jazz/blues and world beat community? Only with your help will that magic happen. -
Time Life Ellingon
The chill of a moonless July midnight was in the air, and some of the 11,000 jazz buffs in Newport, R.I.'s Freebody Park drifted towards the gate. In the tented area behind the bandstand, musicians who had finished playing for the final night of Newport's third jazz festival were packing their instruments and saying goodbye. The festival was just about over. But onstage famed Bandleader Duke Ellington, a trace of coldness rimming his urbanity, refused to recognize the fact. He announced one of his 1938 compositions, Diminuendo in Blue and Crescendo in Blue. A strange, spasmodic air, that carried memories of wilderness and city, rose through the salt-scented night air like a fire on a beach. Minutes passed. People turned back from the exits; snoozers woke up. All at once the promise of new excitement revived the dying evening. At that magic moment Ellington's Paul Gonsalves was ripping off a fast but insinuating solo on his tenor saxophone, his fancies dandled by a bounding beat on bass and drums (Jimmy Woode and Sam Woodyard). The Duke himself tweaked an occasional fragment on the high piano. Gradually, the beat began to ricochet from the audience as more and more fans began to clap hands on the offbeats until the crowd was one vast, rhythmic chorus, yelling its approval. There were howls of "More! More!" and there was dancing in the aisles. One young woman broke loose from her escort and rioted solo around the field, while a young man encouraged her by shouting, "Go, go, go!" Festival officials began to fear that something like a rock 'n' roll riot was taking place. -
PART 1 Rresistanceesistance to Sslaverylavery
PART 1 RResistanceesistance to SlaverySlavery A Ride for Liberty, or The Fugitive Slaves, 1862. J. Eastman Johnson. 55.9 x 66.7 cm. Brooklyn Museum of Art, New York. “You have seen how a man was made a slave; you shall see how a slave was made a man.” —Frederick Douglass Narrative of the Life of Frederick Douglass, an American slave 329 J. Eastman Johnson/The Bridgeman Art Library 0329 U3P1-845481.indd 329 4/6/06 9:00:01 PM BEFORE YOU READ Three Spirituals WHO WROTE THE SPIRITUALS? he spirituals featured here came out of the oral tradition of African Americans Tenslaved in the South before the outbreak of the Civil War. These “sorrow songs,” as they were called, were created by anonymous artists and transmitted by word of mouth. As a result, several versions of the same spiritual may exist. According Some spirituals served as encoded messages by to the Library of Congress, more than six thousand which enslaved field workers, forbidden to speak spirituals have been documented, though some are to each other, could communicate practical infor- not known in their entirety. mation about escape plans. Some typical code African American spirituals combined the tunes words included Egypt, referring to the South or the and texts of Christian hymns with the rhythms, state of bondage, and the promised land or heaven, finger-snapping, clapping, and stamping of tradi- referring to the North or freedom. To communi- tional African music. The spirituals allowed cate a message of hope, spirituals frequently enslaved Africans to retain some of the culture of recounted Bible stories about people liberated from their homelands and forge a new culture while fac- oppression through divine intervention. -
Many Voices Press Flathead Valley Community College Table of Contents
New Poets of the American West -An anthology of poets from eleven Western states- Uni Gottingen 230 r to 2, ft 341 Many Voices Press Flathead Valley Community College Table of Contents Editor's Note: "In This Spirit I Gathered These Poems" by Lowell Jaeger 1 Introduction: "Many Voices, Many Wests" by Brady Harrison 7 Arizona Dick Bakken Going into Moonlight 20 Sherwin Bitsui (excerpted from: Flood Song) 21 Jefferson Carter Match Race 22 A Centaur 22 Virgil Chabre Wyoming Miners 23 David Chorlton Everyday Opera 24 Jim Harrison Blue 25 Rene Char II 25 Love 26 Larson's Holstein Bull 26 Cynthia Hogue That Wild Chance of Living (2001) 27 Will Inman The Bones that Humans Lacked 28 given names 28 mesquite mother territory 29 To Catch the Truth 29 James Jay Mars Hill 30 Hershman John Two Parts Hydrogen, One Part Oxygen 31 Jane Miller xii (excerpted from Midnights) 32 Jim Natal The Half-Life of Memory 33 Sean Nevin The Carpenter Bee 34 Wildfire Triptych 34 Losing Solomon 37 Simon J. Ortiz just phoenix 38 Michael Rattee Spring 39 II David Ray The Sleepers 40 Illegals 41 Arizona Satori 41 The White Buffalo 42 Judy Ray These Days 43 Alberto Rfos Border Lines (Lineas Fronterizas) 44 Rabbits and Fire 45 Refugio's Hair 46 Mi Biblioteca Publica (My Public Library) 47 Rebecca Seiferle Ghost Riders in the Sky 48 Apache Tears 49 Leslie Marmon Silko How to Hunt Buffalo 50 Laurel Speer Buffalo Stones 52 Candyman 52 Luci Tapahonso After Noon in Yooto 53 Miles Waggener Direction 54 Nicole Walker Canister and Turkey Vulture 55 California Kim Addonizio Yes 58 In the Evening, 59 William Archila Blinking Lights 60 Ellen Bass GateC22 61 Women Walking 62 Ode to Dr.