Weary Blues with Langston Hughes, Charles Mingus and Leonard Feather
Reviewed by Jason Morris, Reference and Instruction Specialist

Thump, thump, thump, went his foot on the floor.
He played a few chords then he sang some more--
"I got the Weary Blues
And I can't be satisfied.
Got the Weary Blues
And can't be satisfied--
I ain't happy no mo'
And I wish that I had died."
And far into the night he crooned that tune.
The stars went out and so did the moon.
The singer stopped playing and went to bed
While the Weary Blues echoed through his head.
He slept like a rock or a man that's dead.
- from 'Weary Blues' by Langston Hughes
Langston Hughes was the Poet Laureate of the Harlem Renaissance. While his words are beautiful on the written page, they are enhanced by hearing him read his work. Hughes first performed his poems with a live jazz accompaniment in the 1920s.
When the 'Beat' poets of the 50s revived this art, Hughes returned to reading at jazz clubs. This lead to the recording of the 'Weary Blues' LP in 1958 (reissued on CD in 1990).
It's interesting to hear his delivery, which ranges from relaxed to tongue-in-cheek. It makes a listener wonder what he thought of the poems on this album, since most of them were written 30 years before the recording. Hughes is backed by world-class jazz musicians, including legendary bass player/composer Charles Mingus.
Cabell Media and Reserves Compact Discs PS3515.U274 A6 1990b
The book is a subversive statement in itself, masquerading as a book of graphics about the last great age of illustrated movie posters. It is really an examination of the so-called “Blaxploitation” movies of the 70’s and what they meant to the community of filmmakers then and now. The poster art is beautiful in a way that modern poster art for movies is not. It is heroic and informative and showcases the best of the illustrator's art of the period. The book, however, is so much more. It is a collection of interviews with the artists who made the black movies of 70 and the artwork that helped define them.
This book was the first full-length narrative written by a slave in America. When it was originally published in 1861 it created a heated controversy. Those for slavery denounced it as fiction, written by and for abolitionists. It was said that a real slave, even one who had been taught to read and write, could never write so well. That the author used a pseudonym for herself and the people she wrote about only added to the argument against the book's authenticity. Controversy aside, the book stands on its own as a narrative of a woman born into slavery in Edenton, North Carolina in 1813. To escape she hid for seven years in a small attic over a store room waiting for the right opportunity, which finally came when she was 29. Even then she had to hide in northern cities from her pursuers -- bounty hunters and her former master’s family.
Richmond, Virginia, by local author Elvatrice Parker Belsches (part of the Black America Series from Arcadia Publishing), is profusely illustrated with historic photographs of people and places associated with the African-American experience. Belsches provides a comprehensive survey of this crucial, and often overlooked, aspect of Richmond history. Ranging from contributions to business, education, entertainment, medicine, politics, and religion, Belsches charts the increasing growth of influence of Richmond's black citizens on the life of the city. Essay-length captions accompany rare photographs, establishing a timeline of pivotal moments that define the importance of these contributions to Richmond. The chapter on the role of blacks in the medical field includes biographies of Dr. Sara G. Jones -- "one of the first African Americans to pass the medical boards in Virginia" in 1893 -- and Dr. John Howlette O.D., D.O.S. -- "a pioneering optometrist in Richmond who practiced for over 50 years within the historic Jackson Ward district." Belsches also emphasizes the role of organizations and societies that served as professional supports for those who sought to improve the life of black Richmonders in the late 19th and early 20th centuries. Although seldom remembered now, the contributions of the individuals Belsches commemorates should never be forgotten.
The works of the acclaimed
Perhaps no other novel from the nineteenth century -- and perhaps no other novel in the history of American literature -- is as controversial as Uncle Tom's Cabin, by anti-slavery activist and novelist,
In the fifty years since the publication of Peculiar Institution, historians have produced a significant number of works on American slavery -- developing a variety of interesting sub-fields and topic specializations. Yet, this work remains among the best as a departure point for understanding the world of the ante-bellum slave and it should be considered a prerequisite for subsequent readings on the subject.
In his book, The Black Digital Elite, John T. Barber profiles twenty-six African Americans who have made significant contributions to the advancement of technology over the past four decades. From inventors to CEOs, educators to policy-makers, the compilation of perhaps unfamiliar names and faces adds richness to the history of technological innovation. Beyond the biography, each profile includes an insightful discussion about the digital divide, its persistence and how African Americans can create new paradigms for themselves in order to bridge the gap.
"What good is science fiction to Black people?" If you have ever wondered this, or if you've ever thought that the future was limited to shiny, cybernetic miracles, you need to read Bloodchild and Other Stories. A collection of five short stories and two wonderfully spare essays on the art of writing, this book serves as a fine introduction to the works of 

Although the documentation by historians and archivists of Richmond's African American history began in earnest in the 1970s, a complete monographic history of black Richmond has yet to be written. A new work published this year on the city's architectural history comes close. It covers subjects ranging from slavery and the emergence of freed peoples and their leaders to the city's African American churches and once vibrant neighborhoods.
Here is a special children's book depicting life for an African-American child confronted with segregation laws of the 1950s. Tricia Ann is finally old enough to go to "Someplace Special" all by herself. Her concerned grandmother sends her off with encouragement, "hold yo' head up and act like you b'long to somebody." Along the way Tricia Ann encounters the Jim Crow sign indicating where she must sit on the bus. She cannot sit on the bench near the fountain her grandfather helped to construct. She is not welcome in the hotel lobby, or the main entrance of the movie theatre. Jerry Pinkney, illustrator, portrays the main character in a vibrant blue dress and she is the focal point of every page. His illustrations show the confusion, disappointment, and frustration Tricia Ann experiences. Tricia Ann finally arrives at the special place her grandmother calls "a doorway to freedom." She reads the words carved into the side of the grand building:

















