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by sound, by letter, by
spirit
‘All I know about music is that not many people
ever really hear it. And even then, on the rare
occasions when something opens within, and
the music enters, what we mainly hear, or hear
corroborated, are personal, private, vanishing
evocations. But the man who creates the music
is hearing something else, is dealing with the
roar rising from the void and imposing order
on it as it hits the air. What is evoked in him,
then, is of another order, more terrible because
it has no words, and triumphant, too, for that
same reason. And his triumph, when he
triumphs, is ours………….
……..Then Creole stepped forward to remind them that
what they were playing was the blues. He hit something
in all of them, he hit something in me, myself, and the
music tightened and deepened, apprehension began to
beat the air. Creole began to tell us what the blues were
all about. They were not about anything very new. He
and his boys up there were keeping it new, at the risk of
ruin, destruction, madness and death, in order to find
new ways to make us listen. For, while the tale of how
we suffer, and how we are delighted, and how we may
triumph is never new, it must always be heard. There
isn't any other tale to tell, it's the only light we've got in
all this darkness.‘
Hair--braided chestnut,
coiled like a lyncher's
rope,
Eyes--fagots,
Lips--old scars, or the
first red blisters,
Breath--the last sweet
scent of cane,
And her slim body,
white as the ash
of black flesh after
flame.
Reapers
by Sterling A. Brown
African American
Review, Summer, 1996,
by Maria V. Johnson
SHUG AVERY!
SHUG
This who they talkin' about.
CELIE
I know that.
SHUG
AND EVERYTHING THEY SAY IS TRUE, TOO,
SO YOU BETTER BELIEVE IT!
CELIE
SHUG AVERY . . .
Harpo:
Alright, alright now! Ladies and gentlemen!
I want yall to fill yo' glasses up and sit yo' asses on down!
Cause tonight at
Harpo's Juke Joint!
Man:
Where?!
Harpo:
Harpo, fool! We bringin' yall the finest in southern
nobility:
The Queen Honey Bee!
Ensemble:
Shug Avery!
Harpo:
Whoo! Come on, now, yall!
(Men and women shout)
Shug Avery:
Now there's somethin' 'bout good lovin' that all you ladies
should know.
If you wanna light yo' man on fire, you gotta start it real slow.
Keep on turnin up the voltage til that man begin to glow
Like you switchin on a light bulb: Watch the juice begin to
flow!
Now that I've got your attention
Here's what you men need to hear:
You want your lady racin' with you
You gotta get here in here!
Keep the key to let her know ya find the spot to rev her best
If you dont know where it is give her the stick!
She'll do the rest! Oh Ohh Ohh!
Push da button!
(Push da button!)
Push da button!
(Push da button!)
You gotta push it if you wanna come in!
Oh! Push da button!
(Push da button!)
Give me somethin'!
(Push da button!)
To let ya baby know it aint no sin!
Now if you wanna feel the train comin' yo' way!
Baby, push da button and pull the window shade!
Now listen all you red-hot lovers
You ought to know what to do!
(You oughta know what to do!)
There aint nothin' wrong with nothin'
That's right with both of you!
(That's right with both of you!)
So when tonight, you make ya lover cry out like a lion roar
Tell the neighbor your new kitten found the cream it'd been
lookin' for!
Ohh oohh yeah!
Push da button!
(Push da button!)
Push da button!
(Push da button!)
You gotta push it if you wanna come in! Ohh!
Oh! Push da button!
(Push da button!)
Give me somethin'!
(Push da button!)
To let ya baby know it aint no sin!
Now if you wanna feel the train comin' yo' way!
Baby, push da button and pull the window shade! Come on
and!
Ensemble:
Push, push, push, push!
[Musical break]
Ensemble:
Whoo! Whoo! Whoo!!
Shug Avery:
Push da button!
(Push da button!)
Push da button!
(Push da button!)
You gotta push it if you wanna come in! Heeyy!
Oh! Push da button!
(Push da button!)
Give me somethin'!
(Push da button!)
To let ya baby know it aint no sin!
Now if you wanna feel the train comin' yo' way!
Baby, Baby! Come on!
What are you gonna do?
(Push da button!)
Push da button, yeeaah!!
MISTER
Go on, git! Git outta my house! Leave me alone! Get
out of . . . Get out! No! Leave
me alone, you - No! Goddamn bats get out of my -! No!
Stop! Get away from
me! Ow! HELP!!!!!
What you lookin' at? Bunch of damn fools. I don't have
to stay here, worthless town.
I can walk right down this road. By myself. Never see
nobody I know ever again.
NOBODY TO PUT UP WITH.
NOBODY TO MESS WITH ME.
NOBODY TO PUSH ME AROUND.
NOBODY TO TELL ME WHAT TO DO.
NOBODY TO EXPECT SOMETHIN' OF ME.
NOBODY TO TELL ME WHO I AM
AND WHO I AIN'T.
Nobody!
I GOT PLENTY TO BLAME.
MY DADDY BEAT ME,
FOR MY OWN GOOD, HE SAY.
MY FIRST WIFE GOT KILT
WHEN SHE RUN AWAY.
MY KIDS IS ALL FOOLS,
MY CROPS IS ALL DEAD,
ONLY WOMAN I LOVE
WON'T LIE IN MY BED.
A BLACK MAN'S LIFE
CAN'T GET ANY WORSE
'LESS HE WASTIN' AWAY
UNDER MISS CELIE'S CURSE!
SO TELL ME HOW A MAN DO GOOD
WHEN ALL HE KNOW IS BAD?
HARPO HAPPY.
WHAT RIGHT HE GOT TO BE HAPPY?
WIFE LEAVE,
GIRLFRIEND LEAVE HIM, TOO.
HIS MAMA DIE IN HIS ARMS.
SOMEBODY TELL ME
HOW HE KEEP FINDIN'
SO MUCH GOOD FROM SO MUCH BAD?
HIS WIFE COME BACK,
HIS BUSINESS FINE.
EVERYONE SAY
HARPO SHINE.
FOR ALL THEY BEEN THROUGH,
THEY DO JUST FINE.
NOTHIN' I SAY
CHANGE PEOPLE MIND ABOUT ME.
AIN'T GON' BE NOTHIN' I SAY,
GON' BE SOMETHIN' I DO.
MAYBE ALL MY GOOD LAY AHEAD OF ME.
AIN'T GON' BE NOTHIN' I SAY,
GON' BE SOMETHIN' I DO.
MAYBE EVERYTHING I DO.
A New Black Identity
Novels
Sherwood Anderson — Dark Laughter (1925)
Jessie Redmon Fauset — There is Confusion (1924), Plum Bun (
1928), The Chinaberry Tree (1931), Comedy, American Style (1933
)
Rudolph Fisher — The Walls of Jericho (1928), The Conjure Man
Dies (1932)
Langston Hughes — Not Without Laughter (1930)
Zora Neale Hurston — Jonah's Gourd Vine (1934), Their Eyes
Were Watching God (1937)
Nella Larsen — Quicksand (1928), Passing (1929)
Claude McKay — Home to Harlem (1927), Banjo (1929),
Gingertown (1931), Banana Bottom (1933)•
George Schuyler — Black No More (1930), Slaves Today (1931)
Wallace Thurman — The Blacker the Berry (1929), Infants of the
Spring (1932), Interne (1932)
Jean Toomer — Cane (1923)
Carl Van Vechten — Nigger Heaven (1926)
Eric Walrond — Tropic Death (1926)
Walter White — The Fire in the Flint (1924), Flight (1926)
Drama
Charles Gilpin, actor
Eugene O'Neill, playwright—Emperor Jones, All God's Chillun Got Wings
Paul Robeson
Poetry
Langston Hughes, poet
Jessie Fauset, editor, poet, essayist and novelist
Countee Cullen, poet — The Black Christ and Other Poems (1929)
Claude McKay, poet
James Weldon Johnson, poet
Arna Bontemps, poet
Richard Bruce Nugent, poet
Popular entertainment
Cotton Club
Apollo Theater
Black Swan Records
Small's Paradise
Connie's Inn
Speakeasies
Rent party
Musicians/Composers
Nora Douglas Holt Ray[2]
Louis Armstrong
Eubie Blake
Bessie Smith
Fats Waller
Billie Holiday
Count Basie
Duke Ellington
References
^ The Norton Anthology of African American Literature, Norton, New York,
1997, p. 931
^ http://www.pbs.org/opb/historydetectives/pdf/505_noraholt.pdf