Amiri baraka biography pdf

Continue Amiri Baraka is a well-known African-American writer in fiction, drama, poetry and music. With books such as Tales of the Out and the Gone, he has received the PEN Open Book Award and is also honored as one of the most widely published African-American writers of his generation. In addition to writing, Baraka is considered a revolutionary political activist and has lectured extensively on various political and cultural issues throughout Europe, Africa, the United States and the Caribbean. Born in 1934, Amiri Baraka grew up in the United States. While studying philosophy and religion at Columbia University, he has a solid knowledge of these subjects, which are also well reflected in his writings. Baraka began his professional career by joining the U.S. Air Force in the early '50s. He was destined to be a skilled writer, he did not serve the army for long and switched to a completely different domain by choosing to work in storage for music records. Here, his social circle expanded and added Black Mountain Poets, New York School Poets and Beat Generation. In addition, it developed his interest in Jazz music, which later matured to make him one of the most sought-after music critics. Amiri Baraka is inspired by a number of musical orishai, including John Coltrane, Malcolm X, Ornette Coleman and Thelonius Monk, who led him to become founder of the Black Art Movement of the 60s. His research on African-American music and the play Dutchman and Blues People is commendable. His published collection of essays The essence and poems of substitution, such as Somebody Blowup America, also added to his name. Today, Amiri Baraka receives a long list of awards and honors that include the James Weldon Johnson Medal for Contributions to Art, the American Academy of Arts & Letters Award, the New Jersey Poet Prize and a New York State University professor of immersion at Stony Brook. He is a prominent figure in the literary world and is included in the list of the 100 largest African-Americans by researcher Molefi Kete Asante. African-American writer Imamu Amiri Baraka (born 1934 in Everett LeRoi Jones) became influential in the 1960s as a spokesperson for radical black literature and theater. Baraka was born Everett LeRoi Jones in Newark, New Jersey, on June 30, 1920. After taking a bachelor's degree in Howard in 1953, he spent two years in the U.S. Air Force in Puerto Rico. Baraka's life can be divided into two major episodes. As a resident of Greenwich Village, New York, LeRoi Jones lived the life of a typical white American. He married a caucasian woman, Hettie Cohen, and they had two children. He and his wife published Yugen, a poetry magazine, and he. Written newsletter Floating Bear. Jones' political commitment began when he visited Cuba in 1960. In 1965, Jones moved to Harlem and began the second period of his life. Here he lived a completely African-American and separatist life. As founder and director of black arts repertory theatre school, he made every aspect of his life black and opposite the white life he had previously known. Religious conversion and political activism Turned into the Kewaida sect of the Muslim faith, he took the name Imamu Amiri Baraka and moved to Newark, New Jersey. Suction is swahili's word for spiritual leader; Amiri Baraka is an Arabic name that Jones adopted. In Newark, he directed Spirit House, a religious, cultural and educational black community. He lived with his second wife, their son and his wife's three daughters in a previous marriage. In a 1967 racial uprising in Newark, Baraka was severely assaulted and arrested and charged with carrying a concealed weapon. The judge fined him $25,000 and read one of Baraka's poems, which he considered obscene, as justification for the exorbitant fine. This injustice provoked national indignation, and the fine was paid by the contributions of Baraka's supporters. He later appealed the case and won. The election of African-American Kenneth Gibson as mayor of Newark in 1970 was partly due to Baraka's leadership in a fervent voter registration campaign among the city's African-Americans. As a black nationalist political leader, Baraka was a key figure in the Organization of the African People's Congress in 1970 and in the Organization of the National Black Political Assembly in 1972. The political writings of this period cover, among other things, the development of the black value system and black political institutions, and include a collection of essays called Raise, Race, Rays, Raze: Essays since 1965 (1971). By 1974, however, Baraka had undergone yet another reassessment of his cultural and political orientation. In a dramatic turn of events, he rejected black nationalism and declared himself a Marxist-Leninist-Maoist. After 1974, Baraka produced a lot of socialist poetry and essays on revolutionary politics. A literary achievement The most sparkly feature of Baraka's literary work is his arresting vocabulary, which signals shocking emotional orders as well as thoughts that tell the new intellectual dimensions and boundaries of the mind. He was a brilliant myth-maker who broke icons and clichés and destroyed the stereotypes and shibboleths of the old racist myth - the myth of race and sex in America. As a poet, essayist and playwright, he called for a new cultural understanding in the turbulent society of modern America. Baraka's writing reveals the impact of black music on her sensibilies. Jazz especially his poetry rhythms, although the images and style of his early poetry reflect the vast classical poetry in all countries, and especially under the influence of contemporary beat poetry. From the outset, however, his subject was almost entirely the plight of African-Americans. In the 1960s, Baraka wrote three poems: Preface to a Twenty Volume Suicide Note (1961), The Dead Lecturer (1964) and Black Magic Poetry (1969). His many plays of the season include Dutchman (1964), who won the Obie Prize and marked the beginning of black revolutionary theatre, Slave Ship, Arm Yrself or Harm Yrself or Harm Yrself, Jello and The TOILET. Experimental Death Unit #1, A Black Mass, Great Goodness of Life and Madheart was released as Four Black Revolutionary Plays (1969). He wrote three collections of non-fiction, Blues People (1963), Home, a group of social essays (1966) and Black Music (1967); the System of Dante's Hell (1965); and a series of short stories called Tales (1967). During this time, he also edited The Moderns: Anthology of New Writing in America (1963) and collaborated on a new African-American writing, Anthology of Black Fire (1968). Later, although Baraka produced numerous political writings in the 1970s – some of which were later collected in 1984's Daggers and Spears: Essays, 1974-1979 – the literary efforts of the decade include the drama collection The Motion of History, and Other Plays (1978) and The Sidnee Poetal in Heroic Twenty-Nine Scenes (1979). The first selected poem was published in 1979 in later verse collections such as Reggae or Not! Poems (1981) and Transparency: Selected poems by Amiri Baraka/LeRoi Jones (1961-1995) (1995). Funk Lore (1996) contains poems written from 1984 to 1995. Both 1995's Wise, Why's, Y's and 1996's Eulogies offer his views on the remarkable African-American figure of the 20th century. Baraka's autobiography was published in 1984. Read more about Imamu Amiri Baraka Baraka's literary achievement research can be found in William J. Harris The Poetry and Poetics of Amiri Baraka: The Jazz Aesthetic (1985), Henry C. Lacey, To Raise, Destroy and Create: Imamu Amiri Barakan (1981), Lloyd Wellesley Brown, Amiri Barakan (1980), Werner Sollors Poetry, Drama and Fiction, Amiri Baraka/LeRoi Jones: The Quest for a Populist Modernism (1978), Kimberly W. Bentson, Baraka: The Renegade and the Mask (1978), Theodore R. Hudson, From LeRoi Jones to AmiinIri Baraka: Literary Works (1973) and Robert Elliot Fox, Conscientious Wizards: The Black Postmodernist Fiction by LeRoi Jones/Amiri Baraka, Ishmael Reed and Samuel R. Delany (1987). African- American writer Amiri BarakaBaraka in 2013BornEverett LeRoi Jones (1934-10-07)7. 1934Newark, New Jersey, U.S.DiedJanuary 9, 2014(2014-01-09) (age 79)Newark, New Jersey, U.S.Pen nameLeRoi Jones, Suction Amear Baraka[1]OccupationActor, teacher, theatre director, theatre writer, activist and poetPeriod1961–2014GenrePoetry and dramaSpouses Hettie Cohen ~1958 (div.) Amina Baraka o.s. Sylvia Robinson, ~1966–2014 ChildrenKellie Jones, Lisa Jones, Dominique di Prima, Maria Jones, Shani Baraka, Obalaji Baraka, Ras J. Baraka, Ahi Baraka, Amiri Baraka Jr.[2]Military CareerAllegiance United StatesService/branch U.S. Air ForceService years 1954-57[3][4]Websitewww.amiribaraka.com Amiri Baraka (born Everett LeRoi Jones); October 7, 1934 - October 9, 1934 January 1, 2014) was an American writer. He wrote numerous poetry books and taught at several universities, including New York State University in Buffalo and New York State University Stony Brook. He received the PEN/Beyond Margins Award in 2008 for Tales of the Out and the Gone. [5] Baraka's career spanned nearly 52 years, with themes ranging from black liberation to white racism. Some poems that always associated with him include The Music: Reflection on Jazz and Blues, The Book of Monk and New Music, New Poetry, works that from subjects to worlds of society, music and literature. [6] Baraka's poetry and writing have attracted both great praise and condemnation. In the African- American community, some compare Baraka to James Baldwin and recognize him as one of the most respected and widely published black writers of his generation. [7] Others have said that his work is an expression of violence, misogyny and homophobia. [8] Baraka's plays, poems and essays have been described by scholars as defining the texts of African-American culture. [9] Baraka's short term as a New Jersey poet (2002 and 2003) caused controversy with his poem Somebody Blow Up America? public reading, leading to accusations of anti-Semitism and negative attention from critics and politicians. [10] [11] Biographical Knowledge Early Life (1934–1965) Baraka was born in Newark, New Jersey, where he attended Barringer High School. His father, Coyt Leroy Jones, worked as a post office supervisor and elevator operator. Her mother, Anna Lois (d.o.b. Russ), was a social worker. [12] Jazz was something Baraka became interested in as a child. He wanted to be like Miles Davis. I wanted to look like that too - that green shirt and roll up the sleeves of Milestones... I've always wanted to look like that. And can play on Green Dolphin Street or Autumn Leaves ... That gorgeous, chilling sweet sound. It's music you wanted to play when you were coming to the fold, or just looking up at the sky alongside your baby, that mix of America and they're changing, those blue African magic songs. The influence of jazz can be seen throughout his work later in life. He won a scholarship. Rutgers University–New Brunswick in 1951, but transferred to Howard University in 1952. His classes of philosophy and religious studies helped lay the foundations for his later writings. He later studied at Columbia University and the New School for Social Research without getting a degree. In 1954, he joined the U.S. Air Force as a gunner and achieved the title of sergeant. He would regret this decision. He once explained: I found out what it was like to be in the immediate sentencing of people who hated black people. I'd never known it directly. This experience once again affected Baraka's later work. [14] His commanding officer received an anonymous letter accusing Baraka of being a communist. [15] This led to the discovery of Soviet writings in Baraka's possession, his resettlement in gardening duties and subsequently the granting of a dishonherable discharge for breach of his oath of office. [15] He later described his experience in the military as racist, de demoted and intellectually paralyzed. [16] When he was stationed in Puerto Rico, he worked in a basic library, which gave him plenty of reading time, and it was here, inspired by Beat poets in America, that he began writing poetry. That same year, he moved to Greenwich Village and initially worked in a warehouse for music records. His interest in jazz developed during this period. During this time, he also contacted avant-garde Black Mountain poets and New York school poets. In 1958, she married Hettie Cohen, with whom she had two daughters, Kellie Jones (b. 1959) and Lisa Jones (b. 1961). He and Hettie founded Totem Press, which published such Beat poets as Jack Kerouac and Allen Ginsberg. [17] [18] Totem, in cooperation with Corinth, published LeRoi Jones and Diane di Prima, Books by Ron Loewinsohn, Michael McClure, Charles Olson, Paul Blackburn, Frank O'Hara, Gary Snyder, Philip Whalen, Ed Dorn, Joel Oppenheimer and Gilbert Sorrentino, as well as an anthology by four young female poets, Carol Berge, Barbara Moraff, Rochelle Owens and Diane Wakoski. They also co-founded the quarterly literary magazine Yugen, which ran in eight issues (1958–62). Through a party organized by Baraka, Ginsberg got to know Langston Hughes as Ornette Coleman played the saxophone. [20] Baraka also worked as editor and critic of kulchur (1960–1965), a literary and art magazine. With Diane di Prima, she edited the first 25 issues of their little the Floating Bear magazine (1961–1963). [9] In October 1961, the U.S. Postal Service seized a floating #9. The FBI accused them of indecency after William Burroughs' inauguration of Roosevelt. In the fall of 1961, he founded the New York Poets Theatre together with di Prima, choreographers Fred Herko With James Waring and actor Alan S. Marlowe. She had an extramarital affair with Di Prima. With. several years; Their daughter Dominique di Prima was born in June 1962. Baraka visited Cuba in July 1960 with a delegation from the Fair Play for Cuba Committee and spoke of his impressions in an essay on Cuba Libre. [21] There he faced openly rebellious artists who declared him a cowardly bourgeois individualist[22], focusing more on building his reputation than helping those who endured oppression. This encounter led to a dramatic change in his writing and ambitions, leading him to emphatically support black nationalism. In 1961, Baraka jointly drafted a declaration of indiance in support of Fidel Castro's regime. Baraka was also part of the Umbra Poets Workshop, which featured emerging black nationalist writers (among them Ishmael Reed and Lorenzo Thomas) on the Lower East Side (1962–1965). His first book of poetry, Preface to a Twenty Volume Suicide Note, was published in 1961. Baraka's article The myth of Negro Literature (1962) stated that Negro literature, a legitimate product of the American Negro experience, must have exactly the experience that America has proposed to it in ruthless identity... He also noted in the same work that, as part of American culture, americans completely misunderstood the. The reason for this misunderstanding and lack of black merit fiction, according to Jones: In most cases, who may have practiced art, especially literary art, have been members of the middle class, a group that has always done everything possible to cultivate mediocrity, as long as this mediocrity is guaranteed to be proven to America. And recently to the whole world that they weren't really who they were, which is. As long as black writers were obsessed with being an accepted middle class, Baraka wrote, they would never be able to speak their minds, and that would always lead to failure. Baraka thinks America made room only for white obfuscants, not blacks. [24] [25] In 1963, Baraka (as LeRoi Jones) published Blues People: Negro Music in White America, his account of the evolution of black music from slavery to contemporary jazz. [26] When the work was repubated in 1999, Baraka wrote in the introduction that he wanted to show that Music was a composition, in fact an expressed creative orchestration, a reflection of African-American life ... That music explained history when explaining music. And that both were expressions and reflections of the people. [27] He claimed that while slaves had brought their musical traditions from Africa, blues was an expression of what black people became in America: The way I've come to think about it, blues couldn't exist if African prisoners hadn't become Americans [28] Baraka ( ( LeRoi Jones) wrote an acclaimed, controversial play called Dutchman in which a white woman harassed a black man on a New York subway. The play premiered in 1964 and received the Obie Award for Best American Play that same year. [29] The film, directed by Anthony Harvey, was released in 1967. [30] The play has been revived several times, including a 2013 production staged in a Russian and Turkish spa in the East Village in Manhattan. After malcolm X's murder in 1965, Baraka changed his name from LeRoi Jones to Amiri Baraka. [32] At this time, he also left his wife and their two children and moved to Harlem, where he founded the Black Arts Repertory/Theater School (BARTS) after the Black Art Movement created a new visual representation of art. However, Black Arts Repertory Theater School remained open for less than a year. In its short time, BARTS attracted many renowned artists, including Sonia Sanchez, Sun Ra and Albert Ayler. [33] The closure of black arts repertory theater school sparked a debate with many other black artists who wanted to create similar institutions. Consequently, the establishment of these institutions increased in many places across the United States. In December 1965, Baraka moved back to Newark after allegations that he used federal antipoverty welfare funds for his theater. During this time, Baraka became a leading advocate and theorist of growing black art. [26] Now a black cultural nationalist, he broke away from the predominantly white Beats and became critical of the pacifist and anti-integration civil rights movement. His revolutionary poetry became more controversial. [9] According to Werner Sollors of Harvard University, a poem such as Black Art (1965) expressed Baraka's need to carry out the violence required to start the black world. [36] Baraka even uses onomatopoeia in black art to express the need for violence: rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr naughty naughty ... More specifically, black art lines such as Don't Give Love Poems Written / until love can exist freely and purely, are likened to We Want a Black Poem. / And the black world, shows Baraka's cry for political justice at a time when racial injustice was queasy despite the civil rights movement. [37] Black art quickly became the great poetic manifesto of the Black Art Literary Movement, and in it Jones declared, we want poems that kill, which coincided with the rise of armed self-defense and slogans such as Arm yourself or harm yourself, which promoted a confrontation with the structure of white power. Instead of Baraka using poetry. As a mechanism, he saw poetry as an action weapon. [38] In April 1965, Baraka's Poem for Black Hearts was published live in response to malcolm X's assassination, and it was still the poet uses poetry to inspire hatred and support rage against oppression. [39] Like many of his poems, it showed no remorse for using raw emotions to convey its message. [40] It was published in the September issue of Negro Digest and was one of the first responses to Malcolm's death, which was revealed to the public. [41] The poem is aimed specifically at black men, branding them a to challenge them to act and continue the dead activist's fight against the white system. Baraka also promoted theatre as an education of true revolution, where art was a way of predicting the future as he saw it. In the Revolutionary Theatre, Baraka wrote: We cry and cry, murder, run through the streets in agony if it means that some soul is moved. Against peaceful demonstrations inspired by Martin Luther King Jr., Baraka believed that a physical uprising must follow a literary uprising. Baraka's decision to leave Greenwich Village in 1965 was his response to the debate on the future of black liberation. Baraka married his second wife, Sylvia Robinson, in 1966, who later adopted the name Amina Baraka. [44] The duo would open a facility in Newark known as Spirit House, a combination of a playhouse and an artists' residency. In 1967, he lectured at San Francisco State University. A year later, he was arrested in Newark for allegedly carrying an illegal weapon and resisting arrest during the 1967 Newark riots. He was later sentenced to three years in prison. The judge read his poem Black People, published in the 'Evergreen Review' in December 1967,[45], including a memorable phrase: All stores open if you say magic words. The magic words are: Against the wall, this is a stick! [46] Shortly afterwards, an appeals court overturned the verdict on the defense of attorney Raymond A. Brown. [47] He later joked that he was accused of keeping two revolvers and two poems. [42] Shortly after the 1967 riots, Baraka caused controversy when he went on the radio with the Newark police captain and Anthony Imperiale, a politician and private entrepreneur, and the three blamed the riots on white leadership, so-called radical groups and communists and trotskyists. That same year, his second jazz criticism book, Black Music, came out. It was a collection of previously published music journalism, including down beat magazine's remarkable Apple Cores columns. He also founded a record label called Jihad, which produced and released only three PPIes, all of which were released in 1968:[49] Sonny's Time Now with Sunny Murray, Albert Ayler, Don Cherry, Lewis Worrell, Henry Grimes and Baraka; mass featuring Sun Ra; and Black & Beautiful – Soul & Madness by by Spirit House Movers, from which Baraka reads his poems. [50] [51] In 1967, Baraka (still Leroi Jones) visited Maulana Karenga in Los Angeles and became an advocate of her Kawaida philosophy, a diverse, classified activist philosopher who produced Nguzo Saba, Kwanzaa, with an emphasis on African names. [7] At that time, he adopted the name Imamu Amear Baraka. [1] Suction is swahili's name for a spiritual leader derived from the Arabic word Imam According to Shaw, he dropped the respectable Suction and eventually changed Amaar (which means prince) to Amiri. [1] Baraka means blessing, in the sense of divine favor. In 1970, he strongly supported Kenneth A. Gibson's candidacy for mayor of Newark. Gibson was elected the city's first .(إﻣﺎم) African-American mayor. In the late 1960s and early 1970s, Baraka argued by writing strongly anti-Semitic poems and articles with a similar position to those of the Nation of Islam at the time. Historian Melani McAlister points to an example of this writing: in the case of Baraka and in many of the Noi (Nation of Islam) statements, there is a deep difference, both qualitative and quantitative, in the way white ethnicities were targeted. For example, in one well-known poem Black Arts [originally published in The Liberator January 1966], Baraka made self-testing remarks about several groups and commented in the violent rhetoric often typical of him that ideal poems knock ... the drugs sell and suggest that the police should be killed and their tongues withdrawn and sent to Ireland. But as Baraka himself later admitted [in his work I was AntiSemite, published by The Village Voice on 20, 1980, vol. 1], he was particularly hostile to Jews, as it turned out by the different intensity and cruelty of the dagger poems he called in the same poem to stab the slimy bellies and poems of owner Jews who break steel knings into jewlady's mouth. [52] Before this time, Baraka boasted of being a powerful advocate of black cultural nationalism. By the mid-1970s, however, he began to find its racial individuality restrictive. [9] Baraka's resignation from the Black Art Movement began with seeing certain black writers – surrenderers, as he called them – oppose the Black Art Movement he created. He believed that the pioneers of the Black Art Movement did something new, much needed, useful and black, and those who did not want to see the promotion of black expression were appointed to the site to damage the movement. In 1974, Baraka distanced himself from black nationalism and converted to Marxism- Leninism, becoming a supporter of the Liberation Movements of the Third World. In 1979, he became a lecturer at New York State University in Stony Brook's Africana. Department of the School of Arts and Sciences at the behest of faculty member Leslie Owens. Articles published about Baraka appeared in the university's print media about Stony Brook Press, Blackworld and other student campus publications. These articles included a Page 1 exposé of his positions in the inaugural issue of Stony Brook Press on October 25, 1979, in which he discussed his protests against what he saw as racism in Africana's study department, like the meathing of permanent professors. Soon after, Baraka began a permanent associate professor at Stony Brook in 1980 to help the struggling Africana Studies department; In 1983, he was promoted to assistant professor and was given the post. In June 1979, Baraka was arrested and captured on Eighth Street and Fifth Avenue in Manhattan. Various accounts emerged at the time of the arrest, but all parties agree that Baraka and his wife Amina were in their car arguing over the cost of their children's shoes. The police's version of events indicates that they were called to the scene following an ongoing assault report. They claim that Baraka hit his wife, and when they moved on to intervene, he also attacked them, at which point they used the necessary force to defeat her. Amina's account contradicted that of the police; After his arrest, he held a news conference accusing the police of lying. A grand jury dismissed the assault charge, but opposition to the arrest proceeded. [54] In November 1979, after a seven-day trial, a criminal court jury found Baraka guilty of resisting arrest. A month later, he was sentenced on Rikers Island to 90 days (the maximum sentence he could have been sentenced to one year). Amina declared her husband to be a political prisoner. Baraka was released after a day pending his appeal. At the time, it was discovered that if he were seen in prison, he would not be able to attend a reception at the White House in honor of American poets. Baraka's appeal continued until the state Supreme Court. During the process, his lawyer, William M. Kunstler, told the press that Baraka feels it is the responsibility of America's writers to support him across the board. His attempt to have the sentence overturned or reduced came from letters of support from elected officials, artists and teachers across the country. [54] Amina Baraka continued to defend her husband, saying at one press conference: Fascism is coming and soon our children will be shot down in the streets by a secret police officer. In December 1981, Judge Benrard Fried sentenced Baraka and ordered him to report to Rikers Island to serve his sentence on weekends between January 9, 1982 and November 6, 1982. The judge ruled that baraka's 90 days, which are on weekends, would the opportunity to extend their teaching obligations at Stony Brook. [56] Instead of serving his In prison, Baraka was allowed to complete his 48 consecutive weekends in a Harlem dorm. While serving his sentence, he wrote an autobiography in which he traced his life from birth to conversion to socialism. [57] From 1980 to 2014 In 1980, Baraka published an essay in the Village Voice called Confessions of a Former Anti-Semite. Baraka insisted that the Village Voice reporter headline it and not himself. In the essay, Baraka went through her life history, including her marriage to The Jewish Hettie Cohen. He noted that after the assassination of Malcolm X, he found himself thinking: As a black man married to a white woman, I began to feel alienated from him ... How can someone be married to an enemy? Eventually, she divorced Hettie and left her with her two bi-race daughters. In the essay, Baraka went on to say that we also know that much of the praised Jewish support from black civil rights organizations was for their use. Jews are eventually white and suffer from the same type of white chassism that separates many whites from the black struggle. ... These Jewish intellectuals may have reached America's promised privilege. In the essay, he also defended his position against Israel, saying: Zionism is a form of racism. At the end of the essay, Baraka said: Anti-Semitism is as ugly an idea and deadly as white racism and Zionism ... As for my personal walk in the wasteland of anti-Semitism, it was momentary and never entirely real. ... I have only written one poem with certain aspects of anti-Semitism... And I've rejected it as thoroughly as I can. [58] The poem baraka citing was for Tom Postell, a dead black poet who contained lines such as ... Smile At the Jew. Dance, Jew. Tell me you love me, Jew. I have something for you ... I have the destroying sins, the Jewish boys. I got Hitler's syndrome sorted out ... So come for rent, Jewish boys ... One day, Jewish boys, all of us, even my wig with a mother, we'll put it on all of you at once. [8] Baraka spoke to the Malcolm X Festival from the Black Dot Stage in San Antonio Park, Oakland, California, while performing with Marcel Diallo and his Electric Church Band During the 1982-83 school year, Baraka was a visiting professor at Columbia University, where he taught a course called Black Women and Their Fictions. After becoming a full professor of African studies at Stony Brook in 1985, Baraka made an indefinite visit to the Department of English at Rutgers University in 1988; Over the next two years, he taught several courses in African-American literature and music. Although Baraka applied for permanent, permanent post as a professor at the beginning of 1990 (partly on the campus and in the vicinity of his home), he did not reach the required two-thirds. Third. 9-8 in the vote that favored his nomination. Baraka neighbored the committee to the Ivy League Goebbels and characterized the senior faculty as a powerful clan, leading to the sentencing of barry qualls, the department's president. [59] Baraka then remained nominally linked to Stony Brook until his death as emeritus professor at Africana Studies. In 1987, she was with Maya Angelou and Toni Morrison as speaker at a memorial service for James Baldwin. In 1989, Baraka won the American Book Prize for his works and the Langston Hughes Prize. In 1990, he co-wrote the autobiography of Quincy Jones, and in 1998 he was a supporting actor in Warren Beatty's film Bulworth. In 1996, Baraka released The Offbeat: A Red Hot Soundtrip, an AIDS benefit album produced by the Red Hot Organization. In July 2002, Governor Jim McGreevey named Baraka a New Jersey poet. It was supposed to be two years and came with a $10,000 stipe. [60] Baraka served for 10 years, during which time he was subjected to controversy, including considerable political pressure and public outrage demanding his resignation. During the Geraldine R. Dodge Poetry Festival in Stanhope, New Jersey, Baraka read his 2001 poem after 9/11. Because there was no mechanism in the law to remove Baraka from office, the state legislature and Governor McGreevey officially abolished the status of state poet. Baraka collaborated with hip-hop band The Roots on Something in the Way of Things (In Town) on his 2002 album Phrenology. In 2002, researcher Molefi Kete Asante placed Amiri Baraka on his list of the 100 largest African-Americans. In 2003, Pasha's ex-husband James Coleman murdered Baraka's 31-year-old daughter Shan and her lesbian partner Rayshon Homes at the home of Shan's sister Wanda Wilson Pasha. [63] According to prosecutors, Coleman shot Shan because she had helped her sister divorce her husband. [65] A New Jersey jury found Coleman (also known as Ibn El-Amin Pasha) guilty of the murder of Shani Baraka and Rayshon Holmes and was sentenced to 168 years in prison for the 2003 shooting. [66] His son Ras J. Baraka (born 1970) is a Newark politician and activist who served as principal of Newark Central High School as an elected member of the Newark County Council (2002–2006, 2010–) representing the Southern Section. Ras J. Baraka became mayor of Newark on July 1, 2014. (See 2014 Newark mayoral elections) Death Amiri Baraka died on September 9. On January 1, 2014, at Beth Israel Medical Center in Newark, New Jersey, after spending a month in a hospital in the department's intensive care unit a month before his death. Nniiden the death was not initially reported, but it has been mentioned that Baraka had a long struggle with diabetes. [67] Subsequent reports suggested that he died of complications after recent surgery. Baraka's funeral was held at the Newark Symphony Hall on January 18, 2014. [69] Controversy Homophobia and alleged homosexuality Author Jerry Gafio Watts argues that Baraka's homophobia and misogyny stem from his efforts to hide his own history of same-sex encounters. Watts writes that Baraka knew that popular knowledge of his homosexuality would have undermined the credibility of his militant voice. By becoming publicly known as a homosexual hater, Jones tried to defuse any allegations that might link him to the homosexual past. [8] Critics of his work have alternately described such use as ranging from the vernatic expressions of black oppression to outright examples of sexism, homophobia and racism they have received in his work. [70] [71] [72] [73] White People Next is from a 1965 essay: most American white men are trained to be gay. For this reason, it is no wonder that their faces are weak and empty ... The average [white person] thinks a black man might rape every white woman. Which is true, in the sense that a black man should want to rob a white man of everything he has. But for most whites, guilty of robbery is guilty of rape. Contrary to what they know in their deepest hearts that they should be robbed, and the white woman understands that only in a rape episode is she likely to come purely, viciously. [74] In 2009, he was asked again about the quote, and he put it into a personal and political perspective: Those quotes are from an essay written nearly fifty years ago in Home. Anger was part of a mindset created firstly by the assassination of John Kennedy, followed by the murder of Patrice Lumumba, followed by the murder of Malcolm X amid a series of blights and national oppression. A few years later, the murder of Martin Luther King and Robert Kennedy. What changed me was that I became a Marxist after recognizing the hours of the black community and the class struggle even after we had worked and struggled to elect Kenneth Gibson, the first black mayor of Newark. 11, 2002, 10 months after 9/11 at the World Trade Center. [76], which was controversial and severely criticised. The poem is highly critical of racism in America and contains humorous descriptions of public figures such as Trent Lott, Clarence Thomas and Condoleezza Rice. It also contains lines claiming Israel knows about the World Trade Center attacks: Who why five Israelis filmed the explosion and broke their side with the idea ... Who knew the world? World? The center was going to be bombed Who told 4,000 Israeli workers in the Twin Towers to stay home that day. Baraka said he believed the Israelis and President George W. Bush had prior knowledge of the events of 9/11. He denied that the poem was anti-Semitic and refers to its accusation of being directed against Israelis rather than Jews as a people. [10] [11] The Anti-Defamation League denounced the poem as anti-Semitic[78], although Baraka and his defenders defined his status as anti-Zionism. After the poem was published, then-Governor Jim McGreevey tried to dismiss Baraka from the New Jersey poet's writing, to which he had been appointed after Gerald Stern in July 2002. McGreevey learned that there was no legal way to remove Baraka. On October 17, 2002, the state Senate introduced legislation signed by Governor McGreevey that took effect on July 2, 2003. [79] Baraka ceased to be a poet when the law came into force. In response, Barakan filed lawsuits with the U.S. 3nd Circuit Court of Appeals ruled that government officials were immune from such a lawsuit, and in November 2007, the U.S. Supreme Court refused to hear an appeal. [80] Honors and awards Baraka served as the second poet in New Jersey from July 2002 until the mission was terminated on July 2, 2003. In response to efforts to fire the Baraka state poet as an award-winning, nine-member advisory board named him a poet for Newark Public Schools in December 2002. [81] Baraka was honored by several prestigious foundations, including grants from the Guggenheim Foundation and the National Endowment for the Arts, the Langston Hughes Award from City College in New York, the Rockefeller Foundation Award for Drama, induction into the American Academy of Fine Arts, and before the Columbus Foundation Lifetime Achievement Award. [82] A brief excerpt from Amiri Baraka's poetry was chosen as a permanent installation by artist Larry Kirkland for New York's Pennsylvania station. [83] [84] I've seen many suns spend endless hours carved into marble, this installation has excerpts from works by several New Jersey poets (from Walt Whitman, William Carlos Williams to contemporary poets Robert Pinsky and Renée Ashley) and was part of the renovation and reconstruction of the New Jersey Transit section of the station completed in 2002. [83] Despite numerous disputes and the polarizing content of his work, Baraka's literary influence is undeniable. The co-ordination of the black art movement in the 1960s promoted a uniquely black nationalist perspective and influenced an entire literary generation. [85] Critic Naila Keleta-Mae argues that Barak's legacy is an unspeakable saying, a course that likely damaged his own literary reputation and canonization. Baraka, for example, was excluded from Norton's 2013 anthology Angles of Ascent, a collection of contemporary African-American poetry published by Norton. In an anthology review, Baraka himself criticized editor Charles H. Rowell's hostility to the Black Art Movement, calling Rowell's attempt to analyze and even compartmentalize contemporary African-American poetry as flawed. [87] In fact, Rowell's introduction to The Upstarts refers to falsified narrow political and social demands that have nothing to do with the production of artistic texts, reflecting a political/political divide in which the editor considers too political works of less artistic value. Critic Emily Ruth Rutter acknowledges the contribution to African-American literary studies from the corners of The Rise, but also suggests adding Baraka and others to ensure that students unwittingly reject the notion that Baraka and writers like her were somehow absent from influencing 21st-century poetry. [87] In raincoat, Richard Oyama criticized Baraka's militant aesthetic, writing that Baraka's career came to represent a cautionary tale of the worst tendencies of the 1960s – alienating rejections, fanatical complacency, impulse to separatism and Stalinist oppression to build a multi-race/class coalition ... In the end, Baraka's work suffered because he considered ideology rather than art, the latter taking longer than all of us to forget. [88] Baraka's participation in various artistic genres, combined with his own social activism, allowed him to influence diversely. When discussing his influence in an interview with NPR, Baraka stressed that he had influenced numerous people. When asked what he would write in his own obituary, he tweeted: We don't know if he ever died, [85] and showed the personal significance of his own legacy to him. NPR's Baraka obituary simply illustrates the depths of his influence: ... The black art movement never stopped. [13] Baraka's influence also extends to the publishing world, where some writers boast that he opened doors to white publishers that African-American writers had previously been unable to access. [26] Poetry 1961: Foreword to the 20-Part Suicide Note 1964: Dead Lecturer: Poems 1969: Black Magic 1970: It's Nation Time 1980: New Music, New Poetry (India Navigation) Transbluesency: Amiri Barakan/LeRoi Jonesin valitut runot 1995: Wise, Why's Y's 1996: Funk Lore: New Poems 2003: Somebody Blow Up America & Other Poems 2005: The Book Book Munkkidraama 1964: Hollantilainen 1964: Orja 1967: Kaste ja vessa 1966: Musta massa 1968: Home on the Range and Police[89] 1969: Neljä mustaa vallankumouksellista näytelmää 1970: Orjalaiva 1978: Historian liike ja muut näytelmät 1979: Sidney Poet Heroical, (julkaistu I. Reed Books, 1979) 1989: Song 2013: Most Dangerous Man in America (W. E. B. Du Bois) Fiktio 1965: The System of Dante's Hell 1967: Tales 2004: Un Poco Low Coup, (Ishmael Reed Publishingin julkaisema graafinen romaani) 2006: Tales of the Out & the Gone Non -fiktio 1963: Blues People 1965: Home: Social Essays 1965: The Revolutionary Theatre 1968: Black Music 1971: Raise Race Rays Raze: Esseitä vuodesta 1965 1972: Kawaida Studies: Uusi nationalismi 1979 : Runoutta edistyneille 1981: reggae tai ei! 1984: Tikarit ja keihäät: Esseitä 1974–1979 1984: LeRoi Jonesin/Amiri Barakan omaelämäkerta 1987: The Music: Reflections on Jazz and Blues 2003: The Essence of Reparations Edited works 1968: Black Fire: Anthology of Afro-American Writing (yhteistoimittaja, with Larry Neal) 1969: Four Black Revolutionary Plays 1983: Confirmation: Anthology of African American Women (toimittanut Amina Barakan kanssa) 1999: The LeRoi Jones/Amiri Baraka Reader 2000: The Fiction of LeRoi Jones/Amiri Baraka 2008: Billy Harper: Blueprints of Jazz, Volume 2 (Audio CD) Filmografia The New Ark (1968)[90][91] One P.M. (1972) Fried Shoes Cooked Diamonds (1978) ... Itse Musta teatteri: Liikkeen tekeminen (1978) ... Itse Poetry in Motion (1982) Raivoisa kukka: Videoantologia afroamerikkalaisesta runoudesta 1960–1995, osa II: Warriors (1998) ... Itsensä läpi monia vaaroja: Gospel-musiikin tarina (1996) Bulworth (1998) ... Rastaman Piñero (2001) ... Itse Strange Fruit (2002) ... Itse Ralph Ellison: Amerikkalainen matka (2002) ... Itse Chisholm '72: Unbought & Unbossed (2004) ... Itse pitää aikaa: Milt Hintonin elämä, musiikki & valokuvaus (2004) ... Itse Hubert Selby Jr: It /ll Be Better Tomorrow (2005) ... Itse 500 vuotta myöhemmin (2005) (ääni) ... Itse Greenwich Villagen balladi (2005) ... Itse Sopimus (2006) ... Itse Retour à Gorée (2007) ... Itse Polis Is This: Charles Olson and the Persistence of Place (2007) Vallankumous '67 (2007) ... Itse Turn Me On (2007) (TV) ... Itse Etyj (2007) ... Itse Corso: The Last Beat (2008) Musta kynttilä (2008) Ferlinghetti: Kaupunkivalo (2008) ... Itse W.A.R. Tarinat: Walter Anthony Rodney (2009) ... Itse Motherland (2010) Discography It's Nation Time (Black Forum, 1972) New Music - New Poetry (India Navigation, 1982) yhdessä David Murrayn ja Steve McCall Real Songin (Enja, 1995) kanssa Billy Harper Blueprints of Jazz Vol. 2 (Talking House, 2008) new yorkilainen taidekvartetti New York Art Quartet (ESP-Disk, 1965) with Malachi Thompson Freebop Now! (Delmark, 1998) yhdessä David Murray Fo Deuk Revuen kanssa (Justin Time, 1997), With William Parker I intend to remain a believeer (AUM Fidelity, 2010) References ^ a b c d e Shaw, Lytle. Fieldwork: From place to place in post-war poetic. Tuscaloosa, Alabama: University of Alabama Press, 2013, 107. ^ Bonamo, Mark (July 1, 2014). Amiri Baraka Jr., new chief of staff to the mayor of Newark: I have my brother's back. Politicker NJ. ^ Schudel, Matt (January 10, 2014). Amiri Baraka, 79: Architect of the Black Art Movement. Washington Post, p. B5. ^ Amiri Baraka - Poets.org - Poems, Poems, Bios & More. American Academy of Poets. Retrieved January 10, 2014. He served in the Air Force from 1954 to 1957. ^ Winners of the Open Book/Beyond Margins Award. PEN American Center. Archived from the original on June 26, 2012. Retrieved 6 July 2012. ^Amiri Baraka. AmiriBaraka.com Celeste Bateman and associates. Archived from the original on November 23, 2014. Retrieved November 8, 2014. A b c Salaam, Uma. Historical overviews of the black art movement, oxford's partner in African-American literature. Oxford University Press, 1997; see also Nelson, Cary (ed.) (2002). Modern American Poetry: An online magazine and multimedia partner for the anthology of modern American poetry. Champaign: University of Illinois at Urbana-Champaign. ^ a b c Watts, Jerry Gafio (2001). Amiri Baraka: The Politics and Art of Black Intellectuals. New York: New York University press. ^ a b c d Nelson, Cary (2000). An anthology of modern American poetry. Oxford University Press. p. 997. ^ a b Stevens, Katherine (February 25, 2003). Baraka refutes the criticism. Controversial N.J. poet-award winner denies accusations of racism Yale Daily News. Retrieved January 10, 2014. ^ a b Pearce, Jeremy (February 9, 2003). When poetry seems to matter. In the New York Times. Retrieved January 10, 2014. ^Amiri Baraka, legendary poet who never abandoned Newark, dead at 79 NJ.com, 9 January 2014. Retrieved January 10, 2014. ^ a b Ulaby, Neda (January 9, 2014). Amiri Baraka's legacy both controversial and achingly beautiful. Npr. Retrieved 4 November 2019. ^ Slotnik, Daniel (January 10, 2014). Amiri Baraka, Polarizing Poet and Playwright, Dies at 79 In the New York Times. ^ a b Imamu Amiri Baraka African-American writer. Citrus County, Florida: Black history in America. Retrieved January 11, 2014. ^ Gates Jr., Henry Louis (2014). Norton anthology of African-American literature. New York: W. W. Norton & Company. p. 661. ^ Baraka himself said he was inspired by Allen Ginsberg's Howl, saying: Howl was touched because it spoke of a world I could relate to and... I thought Howl was special. It was a breakthrough for me. I knew now that poetry could be about things I could relate to. [This quote needs a citation] ^ Early, Gerald (1986). Leroi Jones and Amiri Baraka. (70/71): 343–352. JSTOR 40547807. ^ ^ Jed. Yugen, RealityStudio, June 30, 2015 January 18, 2010. ^ a b Harrison, K. C. (2014). LeRoi Jones radio and literature from Break Ellison to Burroughs. African-American review. 47 (2/3): 357–374. doi:10.1353/afa.2014.0042. JSTOR 24589759. S2CID 160151597. ^ The Fair Play for Cuba Committee received national attention in a Castro-funded ad for The New York Times in April 1960. The founder and first director of the FPCC was CBS Newsman Robert Taber. The FPCC quickly had 7,000 members in 25 adult chapters and 40 student councils. The July trip included writers Julian Mayfield and Harold Cruse, historian John Henrik Clarke and militant NAACP leader Robert F. Williams. In December 1960, a delegation of 326 FPCC members visited the island. Cuba Libre was first published in the Evergreen Review,Vol. 4, No. 15, Nov.-December 1960. ^ Gates (2014). Norton anthology of African-American literature. p. 662. ^ The Declaration of Self-Declaration was written and signed by Margaret Randall, Marc Schleifer (now a Jewish convert to Islam), Elaine de Kooning, LeRoi Jones, Diane di Prima, Lawrence Ferlinghetti and Norman Mailer, and published in the Monthly Review. ^ a b Martin, Reginald (1995). Historical inspections of the Black Art Movement, Oxford companion to Women's Writing in the US. New York: Oxford University Press. ^ Nelson, Cary (2016-2013) (2002). Modern American Poetry: An online magazine and multimedia partner for the anthology of modern American poetry. University of Illinois at Urbana-Champaign. ^ a b c Amiri Baraka 1934-2014. poetryfoundation.org Poetry Foundation. Retrieved November 4, 2019. ^ Jones, LeRoi (2002). Blues People: Negro Music in White America. Harper Perennial, what are you? p. ix–x. ^ Jones, LeRoi (2002). Blues' benders. p. 17. ^Dutch. SamuelFrench.com. Retrieved 11 January 2014. ^Dutch. IMDb.com. Retrieved 11 January 2014. ^ Kennedy, Randy (October 31, 2013). A play that makes you sweat. In the New York Times. Retrieved January 11, 2014. ^Amiri Baraka. Biography. Retrieved February 28, 2017. ^ Black Arts Repertory Theatre and School (BARTS) and Black Arts Movement – Black Power in American Memory. blackpower.web.unc.edu. Retrieved 20 September 2018. ^ Historical reviews of the Black Art Movement. english.illinois.edu. Retrieved 20 September 2018. ^a b Amiri Baraka, the legendary poet who never abandoned Newark, has died at the age of 79. nj.com, 9 January 2014. Retrieved 18 June 2016. ^ Sollors, Werner (1978). Amiri Baraka / LeRoi Jones: A quest for populist modernism. Columbia University press. ^ Nelson (2000). An anthology of modern American poetry. p. 998-999. ^ Harris, William J. (1985). Amiri Baraka's poetry and poetry: Jazz aesthetic. University of Missouri Press. ^Poem for black hearts. National Museum American history and culture. Collection smithsonian National Museum of African American History and Culture. Retrieved May 10, 2017. ^ Sommers, Ephraim Scott (2016). Poem of Hate: Amiri Baraka, Tory Dent and Adrian C. Louis. Cream City review. 20 (2): 40–63. doi:10.1353/ccr.2016.0054. ^ Rambsy, H. Early poem for Malcolm X. Cultural front. Retrieved May 10, 2017. ^ a b Gates (2014). Norton anthology of African-American literature. p. 542. ^ a b Miller, James A. (1986). I studied the sun: Amiri Baraka in the 1980s. Callaloo (26): 184–192. doi:10.2307/2931086. JSTOR 2931086. ^ See the back cover of his book Funk Lore. ^ Watts, Jerry, Amiri Baraka: Politics and Art of Black Intellectuals, 299. ^ A phrase coined by Up Against the Wall Motherckers and used as a slogan by other radical groups. ^ Berger, Joseph, Raymond A. Brown, civil rights lawyer, dies at 94, The New York Times, September 11, 2015. October 12, 2009. ^ Ronald Porambo, no reason to prosecute; Newark Autopsy, New York: Holt, Rinehart and Winston, 1971. ^ Various U.S. labels (2) - jazz album covers. Birkajazz.com. Retrieved 14.12.2014. ^ Spirit House Transfers (Jihad). Spirit House Movers : Black & Beautiful – Soul & Madness (CD). Dusty Groove. Retrieved December 14, 2014. ^ Jihad Records, Nothing Is V2.0, November 24, 2008. ^ Melani McAlister (September 1999). One Black Allah: Middle East african American liberation in cultural politics, 1955-1970. American quarterly. Johns Hopkins University press. 51 (3): 646. ^ Poet, playwright and political activist Amiri Baraka (1934-2014) taught at Stony Brook. Stony Brook University. Archived from the original on March 4, 2016. Retrieved September 14, 2015. ^ a b The judge shall delay the decision for one month in the sentencing of Imamu Baraka. Related press. February 24, 1981. ^ John Corry (28 June 1983). TV: The documentary explores Amiri Baraka. In the New York Times. ^ Names on the news. Telegraph. December 18, 1981. p. 36. ^ Amiri Baraka, Suction Amiri Baraka (1991). William J. Harris (2016-12). LeRoi Jones/Amiri Baraka Reader. The thunder's mouth. p. 340. ^ a b Suzy Hansen (17 October 2002). Amiri Baraka stands by his words. Salon. ^ Hanley, Robert (May 11, 1990). Rutgers students' sit-in translations mellow. In the New York Times. Retrieved January 10, 2014. ^ John Sutherland (January 27, 2003). How the governor of New Jersey appointed a radical poet and immediately wished he hadn't. Protector. London, United Kingdom. ^ Poet's Bizzaro History Archived 5.11.2016 in Wayback Machine. At the Toronto Star, July 7, 2016. Bruce Demara. ^ Asante, Molefi Kete (2002). The 100 greatest African-Americans: a biographical enadour book. Amherst, New York: Prometheus Books. ISBN 1-57392-963-8. ^ Hanley, Robert (August 14, 2003). The controversial poet is killed at his sister's home. In the New York Times. Retrieved January 10, 2014. ^ Zook, Kristal Brent (2006). Black Women's Lives: Stories of Pain and Power. The nation's books. p. 44. ISBN 1-56025-790-3. Serrano and Ken. A man is again trying to overturn a conviction for the murder of two women in Piscataway. mycentraljersey.com. Archived from the original on 1 August 2010. Retrieved 20 August 2010. ^Metro news conference: New Jersey: New Brunswick: Verdict 2 in Manslaughter. In the New York Times. July 12, 2005. Retrieved 20 August 2010. Giambusso, David. Amiri Baraka, former N.J. poet and prolific writer, dead at 79, The Star-Ledger, May 9, 2015. The rapporteur was Mr S.A. Retrieved January 9, 2014. Chawkins, Steve. Amiri Baraka dies at 79; the provocative poet praised, teased social passion, The Los Angeles Times, September 9, 2015. The rapporteur was Mr S.A. Retrieved January 12, 2014. Giambusso, David. Amiri Baraka's funeral at the Newark Symphony Hall, The Star-Ledger, January 10, 2014. Retrieved January 12, 2014. ^ David L. Smith, Amiri Baraka and the Black Arts of Black Art, boundary 2. Vol. 15, No. 1/2 (autumn, 1986), 235–254. ^Rowell, interview with Charles H. Henry Louis Gates Jr., Callaloo. 14th voh. 14, No. 2 (spring 1991), 444–463. ^ Ross, Marlon B. Camping the Dirty Dozens: The Queer Resources of Black Nationalist Invective, Callaloo. Vol. 23, No. 1, Gay, Lesbian, Bisexual, Transgender: Literature and Culture (Winter 2000), 290–312. ^ Liukkonen, Petri. Amiri Baraka. Books and writers (kirjasto.sci.fi). Finland: Kuusankoski Public Library. Archived from the original on 4 May 2009. ^ Watts (2001), Amiri Baraka: Politics and Art of Black Intellectuals, 332. ^ Erskine, Sophie (June 4, 2009). Art is a weapon in the struggle of ideas: interviewing Amiri Baraka. 3:AM Magazine. Retrieved 2 December 2010. ^Amiri Baraka-Bio. Amiribaraka.com. Archived from the original on September 29, 2010. Retrieved December 14, 2014. ^ Amiri Baraka vs Connie Chung – CNN, October 2002. Youtube.com April 2011. Retrieved January 10, 2014. ^ Amiri Baraka: a long history of hostility to Jews and Jews. Adl.org. Retrieved 14.12.2014. ^ New Jersey State Legislature, New Jersey State Laws, P.L.2003, c. 123. ^ via Associated Press. Newark: Court Will Not Hear Poet's Lawsuit, The New York Times, May 14, 2015. November 26, 2007. Jacobs and Andrew. The criticized poet has been named recipient of the Newark Schools, The New York Times, December 19, 2002. September 19, 2008. A longtime Newark resident who played a key role in the black art movement of the 1960s, Mr. Baraka has ignored calls from Gov. James E. McGreevey and others that he is resigning from a position that pays a $10,000 scholarship. ^ Amiri Baraka. Poets.org. Retrieved 14.12.2014. ^ a b New Jersey transit. Commissioner Fox unveils a new 7. Ansa Penn Station N.Y.: Built For Today's Crowds and Tomorrow's Capacity Needs (news release) (September 18, 2002). Retrieved July 6, 2013. Strauss and Robert. Ode to Whom(sey), The New York Times, May 27, 2015 Retrieved July 6, 2013. ^ a b Chideya, Farai (9 January 2007). Author Amiri Baraka: 'Tales of the Out & Gone'. Npr. Retrieved 4 November 2019. ^ Keleta-Mae, Naila (2016). Amiri Baraka: Lifelong unsaid saying. A Canadian look at American studies. 46 (2): 265–279. doi:10.3138/cras.2015.005. S2CID 163879105. ^ a b Rutter, Emily Ruth (Winter 2016). Controversial lines: The legacy of Fred Mote, Terrance Hayes and Amiri Baraka. African-American review. 49 (4): 329–342. doi:10.1353/afa.2016.0050. S2CID 164811231. ^Oyama, Richard, On Amiri Bakara: Who was that masked man? Rainytax, summer 2014. ^ Amiri Baraka (LeRoi Jones), Home on the Range and Police(1968), in Annemarie Bean (d.o.b.), Source book for African-American performance: Plays, People Movements, Routledge, 1999, 32–45. (HOME ON THE RANGE: A play performed in the background with music by the improvised Albert Ayler. Home on the Range was read as part of the 1967 Black Communications Project, produced at Spirit House in the spring of'68 by Spirit House Movers and Players on tour in Boston and performing at a town hall rally in New York in March 1968.) Strub and Whitney. Restoring a New Ark: Amiri Baraka's Lost Chronicle of Black Power in Newark, 1968, Bright Lights Film Journal, May 17, 1968. Retrieved 19 April 2013. Whitty and Stephen. Amiri Baraka's missing Newark film, found and coming home NJ.com April 18, 2014. Retrieved April 19, 2014. External links Wikiquiote has quotes related to: Amiri Baraka Wikimedia Commons has media related to Amiri Baraka. U.S. Portal Biography Portal Poetry Portal Amiri Baraka's works in libraries (WorldCat catalogue) Amiri Baraka IMDb amiri baraka on the Amiri Baraka page of the National Library of Germany Modern American Interview interview with Andrea Hiott, Pulse Magazine Berlin Site dedicated to Amiri Baraka Amiri Baraka Discography Project appearances at C-SPAN Margalit Fox, Amiri Baraka, polarizing poet and playwright, dies at 79, The New York Times, January 9, 2014 Obituary in The Independent in interview with Marcus Williamson Amiri Baraka J. With K. Fowler Mantle Democracy Now January 10, 2014 Amiri Baraka (1934-2014): Poet-playwright activist who shaped revolutionary politics, Black Culture FBI files on Amiri Baraka in internet archive FBI Docs Amiri Baraka (in part) FBI File Maria Popova , Answers in Progress: Amiri Barakan Lyrical Manifesto for Life Amiri Baraka video interview on YouTube Audio recording of Amiri Baraka's poetry reading, 14 September 1992, from decker library of the Maryland Institute College of Art, Internet Archive help with Amiri Baraka's papers at Columbia University. A rare library of books and manuscripts. Finding help for Beat poets and poetry collections, including Baraka's The Systems of Dante's Hell manuscript at Columbia University. A rare library of books and manuscripts. Retrieved

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