| Kathy J. Ogren - 1992 - 240 páginas
...Seventh Street. His conclusion became one of the most famous manifestos of Afro- American writers: Let the blare of Negro jazz bands and the bellowing...nearintellectuals until they listen and perhaps understand. Let Paul Robeson singing "Water Boy," and Rudolph Fisher writing about the streets of Harlem, and Jean... | |
| Angelyn Mitchell - 1994 - 548 páginas
...free to choose what he does, certainly, but he must also never be afraid to do what he might choose. Let the blare of Negro jazz bands and the bellowing...near-intellectuals until they listen and perhaps understand. Let Paul Robeson singing "Water Boy," and Rudolph Fisher writing about the streets of Harlem, and Jean... | |
| Winfried Fluck - 1995 - 474 páginas
...artist's preferred weapon for warding off the stranglehold of mediocre white, bourgeois standards: "Let the blare of Negro jazz bands and the bellowing...near-intellectuals until they listen and perhaps understand" (692). Writers, whether poets or novelists, would do better to emulate musicians and singers. And for... | |
| C. James Trotman - 1995 - 208 páginas
...flamboyant dress and reckless behavior dismayed and embarrassed their more decorous brothers and sisters. and the bellowing voice of Bessie Smith singing Blues...near-intellectuals until they listen and perhaps understand" (309). Not only was Hughes drawn to the compressed poetry of the blues, he aspired to a cultural role... | |
| Cary D. Wintz - 1996 - 400 páginas
...free to choose what he does, certainly, but he must also never be afraid to do what he might choose. Let the blare of Negro jazz bands and the bellowing...near-intellectuals until they listen and perhaps understand. Let Paul Robeson singing Water Boy, and Rudolph Fisher writing about the streets of Harlem, and Jean... | |
| James Vernon Hatch, Leo Hamalian - 1996 - 472 páginas
...free to choose what he does, certainly, but he must also never be afraid to do what he might choose. Let the blare of Negro jazz bands and the bellowing...near-intellectuals until they listen and perhaps understand. Let Paul Robeson singing "Water Boy," and Rudolph Fisher writing about the streets of Harlem, and Jean... | |
| Cary D. Wintz - 1996 - 522 páginas
...create with new technique the expressions of their own soulworld . . . (pp. 94-95) And Hughes concludes: Let the blare of Negro jazz bands and the bellowing...near-intellectuals until they listen and perhaps understand. Let Paul Robeson singing Water Boy, and Rudolph Fisher writing about the streets of Harlem, and Jean... | |
| Ron Eyerman, Andrew Jamison - 1998 - 208 páginas
...highbrow and the lowbrow, in both music and poetry. Nor did he have difficulty taunting those who did: Let the blare of Negro Jazz bands and the bellowing...near-intellectuals until they listen and perhaps understand . . . We younger Negro artists who create now intend to express our dark-skinned selves without fear... | |
| Theresa Perry, Lisa Delpit - 1998 - 246 páginas
...language of African students, students will teach you how to teach them. Let the blare of Negro Jazz and the bellowing voice of Bessie Smith singing Blues...near-intellectuals until they listen and perhaps understand. Let Paul Robeson singing "Water Boy," and Rudolph Fisher writing about the streets of Harlem, and Jean... | |
| Scott Lash, Mike Featherstone - 1999 - 308 páginas
...'lowbrow' genres, as well as musical and literary forms. Nor did he have difficulty taunting those who did: Let the blare of Negro Jazz bands and the bellowing...near-intellectuals until they listen and perhaps understand. . . . We younger Negro artists who create now intend to express our dark-skinned selves without fear... | |
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