William Christopher Handy was an American composer and musician who referred to himself as the Father of the Blues. He was one of the most influential songwriters in the United States. One of many musicians who played the distinctively American blues music, Handy did not create the blues genre but was one of the first to publish music in the blues form, thereby taking the blues from a regional music style with a limited audience to a new level of popularity.
Clarence Williams was an American jazz pianist, composer, promoter, vocalist, theatrical producer, and publisher.
Boogie-woogie is a genre of blues music that became popular during the late 1920s, developed in African-American communities since the 1870s. It was eventually extended from piano to piano duo and trio, guitar, big band, country and western music, and gospel. While standard blues traditionally expresses a variety of emotions, boogie-woogie is mainly dance music. The genre had a significant influence on rhythm and blues and rock and roll.
Countee Cullen was an American poet, novelist, children's writer, and playwright, particularly well known during the Harlem Renaissance.
Sterling Allen Brown was an American professor, folklorist, poet, and literary critic. He chiefly studied black culture of the Southern United States and was a professor at Howard University for most of his career. Brown was the first Poet Laureate of the District of Columbia.
Florence Beatrice Price was an American classical composer, pianist, organist and music teacher. Born in Little Rock, Arkansas, Price was educated at the New England Conservatory of Music, and was active in Chicago from 1927 until her death in 1953. Price is noted as the first African-American woman to be recognized as a symphonic composer, and the first to have a composition played by a major orchestra. Price composed over 300 works: four symphonies, four concertos, as well as choral works, art songs, chamber music and music for solo instruments. In 2009, a substantial collection of her works and papers was found in her abandoned summer home.
Lenox Avenue – also named Malcolm X Boulevard; both names are officially recognized – is the primary north–south route through Harlem in the upper portion of the New York City borough of Manhattan. This two-way street runs from Farmers' Gate at Central Park North to 147th Street. Its traffic is figuratively described as "Harlem's heartbeat" by Langston Hughes in his poem Juke Box Love Song.
Jazz poetry has been defined as poetry that "demonstrates jazz-like rhythm or the feel of improvisation" and also as poetry that takes jazz music, musicians, or the jazz milieu as its subject, and is designed to be performed. Some critics consider it a distinct genre though others consider the term to be merely descriptive. Jazz poetry has long been something of an "outsider" art form that exists somewhere outside the mainstream, having been conceived in the 1920s by African Americans, maintained in the 1950s by counterculture poets like those of the Beat generation, and adapted in modern times into hip-hop music and live poetry events known as poetry slams.
Little is known about the exact origin of the music now known as the blues. No specific year can be cited as its origin, largely because the style evolved over a long period but blues is inarguably a Black American art form as it is noted "it is impossible to say exactly how old blues is - certainly no older than the presence of Negroes in the United States. It is native American Music, the product of the Black in this Country or to put it more exactly the way I have come to think about it, blues could not exist if African Captives had not become American Captives". Ethnomusicologist Gerhard Kubik traces the roots of many of the elements that were to develop into the blues back to the African continent, the "cradle of the blues". One important early mention of something closely resembling the blues comes from 1901, when an archaeologist in Mississippi described the songs of black workers which had lyrical themes and technical elements in common with the blues.
Randolph Edward "Randy" Weston was an American jazz pianist and composer whose creativity was inspired by his ancestral African connection.
Margaret Allison Bonds was an American composer, pianist, arranger, and teacher. One of the first Black composers and performers to gain recognition in the United States, she is best remembered today for her popular arrangements of African-American spirituals and frequent collaborations with Langston Hughes.She is known as the first black soloist to perform with the Chicago Symphony Orchestra.
The Harlem Renaissance was an intellectual and cultural revival of African-American music, dance, art, fashion, literature, theater, politics and scholarship centered in Harlem, Manhattan, New York City, spanning the 1920s and 1930s. At the time, it was known as the "New Negro Movement", named after The New Negro, a 1925 anthology edited by Alain Locke. The movement also included the new African-American cultural expressions across the urban areas in the Northeast and Midwest United States affected by a renewed militancy in the general struggle for civil rights, combined with the Great Migration of African-American workers fleeing the racist conditions of the Jim Crow Deep South, as Harlem was the final destination of the largest number of those who migrated north.
"Note on Commercial Theatre" is a poem by Langston Hughes written in 1940 and republished in 2008.
James Mercer Langston Hughes was an American poet, social activist, novelist, playwright, and columnist from Joplin, Missouri. One of the earliest innovators of the literary art form called jazz poetry, Hughes is best known as a leader of the Harlem Renaissance. He famously wrote about the period that "the Negro was in vogue", which was later paraphrased as "when Harlem was in vogue."
"The Negro Speaks of Rivers" is a poem by American writer Langston Hughes. Hughes wrote the poem when he was 17 years old and was crossing the Mississippi River on the way to visit his father in Mexico. The poem was first published the following year in The Crisis magazine, in June 1921, starting Hughes's literary career. "The Negro Speaks of Rivers" uses rivers as a metaphor for Hughes's life and the broader African-American experience. It has been reprinted often and is considered one of Hughes's most famous and signature works.
Margaret Danner (1915–1984) was an American poet, editor and cultural activist known for her poetic imagery and her celebration of African heritage and cultural forms.
Weary Blues is an album by the American poet Langston Hughes, who recites several of his poems over jazz accompaniment composed and arranged by Leonard Feather and Charles Mingus. The album was recorded on March 17 & 18, 1958 in New York and was released on the MGM label in 1959. It was later reissued on Verve Records.
Robert Williams Ricketts was an American musician, composer, lyricist, bandleader, song arranger and music publisher. Bob Ricketts was associated with fellow musician and songwriter Porter Grainger and together they produced a number of musical works.
"I, Too" is a poem written by Langston Hughes that shows a want for equality through patience whilst going against the idea that patriotism is limited by race. It was first published in Hughes' first volume of poetry, The Weary Blues in 1926. This poem, along with other works by Hughes, helped define the Harlem Renaissance, a period in the early 1920s and '30s of newfound cultural identity for blacks in America who had discovered the power of literature, art, music, and poetry as a means of personal and collective expression in the scope of civil rights.
"Mother to Son" is a 1922 poem by American writer and activist Langston Hughes. The poem follows a mother speaking to her son about her life, which she says "ain't been no crystal stair". She first describes the struggles she has faced and then urges him to continue moving forward. It was referenced by Martin Luther King Jr. several times in his speeches during the civil rights movement, and has been analyzed by several critics, notably for its style and representation of the mother.
The Weary Blues at Wikisource 
