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Jones Leroi:     more books (101)

Dutchman & the Slave by Leroi Jones, 1964-01-01 Play On by Amiri (Jones, Leroi) Baraka, 1996 Revolutionary Party: Revolutionary Ideology by Imamu Amiri (Leroi Jones) Baraka, 1974-01-01 THE BAPTISM & THE TOILET: by LeRoi: Jones, 1967 The Dead Lecturer: Poems. by Imamu Amiri Baraka, LeRoi Jones, 1964-10 BLUES PEOPLE The Negro Experience in White America and the Music That Developed from It by Leroi Jones, 1971 The Dead Lecturer by Leroi Jones, 1964 Black Music 1ST Edition by Leroi Jones, 1967 Yugen 8. by Amiri [As Leroi Jones], Editor & Contributor Baraka, 1962-01-01 Four Black Revolutionary Plays. by Leroi. Jones, 1969-01-01 AFRICAN CONGRESS: A Documentrary of the First Modern Pan-African Congress by Imamu Amiri (LeRoi Jones), ed. Baraka, 1972 A Poem for Black Hearts by Leroi (aka Amiri Baraka) (BROADSIDE PRESS) JONES, 1967 A Black Quartet; Four New Black Plays by Ben Caldwell, Ronald Milner, et all 1970 Transbluesency: The Selected Poetry of Amiri Baraka/LeRoi Jones (1961-1995) by Amiri Baraka, Imamu Amiri Baraka, 1995-10-01

lists with details

41. JONES, L. MSS.
    Books published by the Totem Press, for which the mss. are included in the collectionare a jones, leroi. Preface to a twenty volume suicide note.  
    http://www.indiana.edu/~liblilly/lilly/mss/html/jonesl.html
    
    Extractions: The Jones, L. mss., 1950-1961 (principally 1958-1961), consist of the editorial office records of two little magazines, Yugen, 1958-1961, of which LeRoi Jones, 1934- , poet, and Hettie Cohen were editors, and "The floating bear," 1961, of which Jones and Diane Di Prima, poet, were editors. Also included are manuscripts and proofs of certain books published by the Totem Press. The collection has been arranged in three sections: [1] Correspondence, 1955-1961. This consists in the main of letters to LeRoi Jones and Diane Di Prima from contributors and others interest in expressing the opinions of the "beat generation." The letters are basically concerned with matters regarding contributions, criticism of contemporaries, and descriptions of activities participated in by various individuals. [3] Editorial make-ups and proofs of Yugen, arranged in the order of the numbers of the magazine. Included are: No. 1, 1958. Editorial make-up. Lacks cover, advertising, pp. 22-24, and illustrations. No. 3, 1958. Editorial make-up. Lacks cover, advertising, and illustrations. Page 24 varies greatly from printed content.

42. AMIRI BARAKA (LEROI JONES), 1934-
    Amiri Baraka (leroi jones), 1934. Jan. 1st, 1959-Fidel Castro, edited by leroijones. New York Totem Press, 1959. Spring Soforth, as leroi jones.  
    http://www.cla.sc.edu/ENGL/LitCheck/Baraka.htm
    
    Extractions: Jan. 1st, 1959-Fidel Castro, edited by LeRoi Jones. New York: Totem Press, 1959. as LeRoi Jones. New Haven, CT: Penny Poems, 1960. Broadside. Penny Poems, no. 111. Cuba Libre, as LeRoi Jones. New York: Fair Play for Cuba Committee, 1961. The Disguise, as LeRoi Jones. New Haven, CT: Penny Poems, 1961. Broadside. Penny Poems, no. 155. Preface to a Twenty Volume Suicide Note . . . , as LeRoi Jones. New York: Totem Press/Corinth Books. 1961. Four Young Lady Poets, edited by Jones. New York: Corinth Books, 1962. Blues People: Negro Music in White America, The Moderns: An Anthology of New Writing in America, The Dutchman, and The Slave: Two Plays, The Dead Lecturer: Poems, as LeRoi Jones. New York: Grove Press, 1964. The System of Dante's Hell, Dear Friend, The Black Arts Repertory Theater/School . . . New York: LeRoi Jones, 1965. 1 sheet, duplicated typed letter. Home: Social Essays, Black Art, as LeRoi Jones. Newark, NJ: Jihad, 1966. Slave Ship: A Play in One Act, as LeRoi Jones. Newark, NJ: Jihad, 1967.

43. About Author Amiri Baraka (LeRoi Jones)
    Find biography, bibliography, interviews and articles on author Amiri Baraka,also known as leroi jones. About Amiri Baraka (aka leroi jones).  
    http://contemporarylit.about.com/library/blbaraka_amiri.htm
    
    Extractions: Advertisement Type of work: plays, poetry Born: Nationality: United States, African-American author Best known for: founding the Black Arts Movement. Ishmael Reed once said, "I think what Black Arts did was inspire a whole lot of Black people to write. Moreover, there would be no multiculturalism movement without Black Arts. Latinos, Asian Americans, and others all say they began writing as a result of the example of the 1960s. Blacks gave the example that you don't have to assimilate. You could do your own thing, get into your own background, your own history, your own tradition and your own culture. I think the challenge is for cultural sovereignty and Black Arts struck a blow for that." Dutchman and the Slave: Two Plays. 1964. (

44. Africana.com: Gateway To The Black World.Screen Name Service
    The Autobiography of leroi jones List of Related Links Related ArticlesRelated Categories. Biography Related Articles; Baraka, Amiri  
    http://www.africana.com/Key/The_Autobiography_of_Leroi_Jones.htm

45. African-American Poetry Criticism
    Amiri Baraka/leroi jones The Questfor a Populist Modernism. . 818 jones, leroiBrown, Lloyd Wellesley. jones, leroi. Conversations with Amiri Baraka.  
    http://www.imcpl.lib.in.us/ams_afro5.htm

46. The New York Review Of Books: LEROI JONES
    Letter. leroi jones. By Committee on Poetry. Lyres tell the Truth! We herald to literarypersons get on the ball for leroi jones, or else get off the poetic pot.  
    http://www.nybooks.com/articles/11720
    
    Extractions: April 25, 1968 Letter To the Editors Mr. Jones' whitekind is that self-same demon we call tyranny, injustice, dictatorship. As poet he champions the black imagination; as revolutionary poet his revolution is fought with words. He scribes that the police carried the guns. Lyres tell the Truth! We herald to literary persons: get on the ball for LeRoi Jones, or else get off the poetic pot. LeRoi is not only a black man, a Newark man, a revolutionary, he is a conspicuous American artist imprisoned for his poetry during a crisis of authoritarianism in these States. (John Ashbery, Gregory Corso, Robert Creeley, Diane di Prima, Robert Duncan, Lawrence Ferlinghetti, Allen Ginsberg, Kenneth Koch, Denise Levertov, Michael McClure, Charles Olson, Joel Oppenheimer, Peter Orlovsky, Gil Sorrentino, Philip Whalen, and John Wieners)

47. The New York Review Of Books: LeRoi Jones
    Bibliography of books and articles by leroi jones, from The New YorkReview of Books. The New York Review of Books Home leroi jones. May  
    http://www.nybooks.com/authors/6418

48. Amiri Baraka (LeRoi Jones) Interview With Don Swaim
    Audio Interview with Amiri Baraka. (also known as leroi jones). Author,playwright and poet, Amiri Bakara speaks with Don Swaim about  
    http://wiredforbooks.org/amiribaraka/
    
    Extractions: Wired For Books home Don Swaim Interviews Audio Interview with Amiri Baraka (also known as LeRoi Jones) Author, playwright and poet, Amiri Bakara speaks with Don Swaim about his experiences with literature. As a young reader, Baraka's access to books was limited, but he finished school at Howard University and later went on to the Air Force. There he developed his love for books. Swaim also brings up the speech like quality of the text, explained by Baraka as trying to capture the sense of speech used in the community. Listen to the Amiri Baraka interview with Don Swaim, 1984 (12 min. 33 sec.) Download Free RealPlayer

49. Browse By Artist BARAKA (LEROI JONES), AMIRI THE SUN RA MYTH-
    Browse by Artist BARAKA (leroi jones), AMIRI THE SUN RA MYTHSCIENCE ARKESTRAArtist BARAKA (leroi jones), AMIRI THE SUN RA MYTH-SCIENCE ARKESTRA.  
    http://www.forcedexposure.com/artists/baraka.leroi.jones.amiri.and.the.sun.ra.my

50. UVa Library Exhibit: American Theatre
    jones, leroi Imamu Amiri Baraka. Dutchman and The Slave. New York Morrow Quill,1964. jones, leroi Imamu Amiri Baraka. Arm Yourself, or Harm Yourself!  
    http://www.lib.virginia.edu/speccol/exhibits/theatre/voice.html
    
    Extractions: Hughes addresses the appropriation of black culture and the parallel stereotyping of African Americans by a white theatrical tradition. The poem speaks to the fact that, for approximately the first 150 years of American theatre, nearly all African-American characters were created by white playwrights and often performed by white actors in blackface. African-American playwrights did not have a voice in the popular theatre of the eighteenth and nineteenth centuries nor did they have a legitimate venue for any works that they may have created. While several early African-American actors and playwrights found success in European theatres, those who remained in America were forced to conform to the expectations of white theatre audiences. Not until the latter half of the nineteenth century did African-American musical theatre movements begin to form. African-American minstrel troupes and writers started to create musicals that catered to African-American audiences that assembled in church halls, community centers, and small local theatres and auditoriums on the periphery of mainstream American theatre. With the Harlem Renaissance in New York City in the 1920s, the surge and prominence of African-American artistic talent paved the way for African-American playwrights to emerge on the Broadway and Off-Broadway scene in the middle of the twentieth century. The American stage finally saw fully realized African-American characters and powerful portrayals of African-American life.

51. Psychedelic 60s: The Beats: New York, Continued
    . She took leroi jones as her lover and business In 1969 she wrote Memoirs ofa Beatnik, relating her experiences during the Beat period. leroi jones.  
    http://www.lib.virginia.edu/speccol/exhibits/sixties/beatsny2.html
    
    Extractions: Gregory Corso GREGORY CORSO SPENT his early life in and out of foster homes. At the age of twelve he began living on the streets of New York, sleeping in the subway or in abandoned cars. He was sent to Clinton State Prison at the age of sixteen for robbing a Household Finance Office, and there he began educating himself in the prison library. Released at the age of twenty, Corso moved back to New York where he met Allen Ginsberg at the lesbian bar, The Pony Stable. Ginsberg was impressed with Corso's poetry and excited to meet another authentic street person. Always the promoter of his friends' literary efforts, Ginsberg introduced Corso to the Beat crowd and helped get his poems published by Lawrence Ferlinghetti at City Lights Books. Herbert Huncke LIKE NEAL CASSADY and Gregory Corso, Herbert Huncke left home at an early age and learned to live on the street, engaging in petty crime and prostitution. He met Burroughs in a Times Square bar and quickly introduced him to New York's seamy drug culture. Huncke became a regular among the early Beat crowd and followed Burroughs to Texas, New Orleans, and Mexico. Huncke produced little in the way of literature; he was Beat inspiration in the flesh. Huncke's Journal is his personal account of adventures with his Beat friends.

52. BIBLIOGRAPHY
    BIBLIOGRAPHY. Baraka, Amiri (jones, leroi) and Baraka, Amina. The Music. jones,leroi. Black Music. William Morrow Company, New York. 1971. jones, leroi.  
    http://www.cs.wisc.edu/~wright/music/coltrane-ellison/bib.html
    
    Extractions: Baraka, Amiri (Jones, LeRoi) and Baraka, Amina. The Music Benston, Kimberly W. (editor). Speaking For You. The Vision of Ralph Ellison . Howard University Press, Washington, D.C. 1990. Devine, Joel and Wright, James. The Greatest of Evils Urban Poverty and the American Underclass . Aldine De Gruyter, New York. 1993 Ellison, Ralph. Invisible Man . Vintage International Edition, New York. 1990. (Origionally published by Random House, 1952) Ellison, Ralph. Shadow and Act . Vintage Books, New York, 1972. Farley, Reynolds and Allen, Walter R. The Color Line and the Quality of Life in America . Reynolds Farley and Walter R. Allen for the National Committee for research on the 1980 Census. Oxford University Press, New York. 1989. Folbre, Nancy and the Center for Popular Economics. A Field Guide to the U.S. Economy . Pantheon Books, New York. 1987. Grey, De Sayles R. John Coltrane and the "Avant-Garde" Movement in Jazz History . Univeristy of Pittsburgh. 1986. Jones, LeRoi. Black Music Jones, LeRoi.

53. NOTES
    These liner notes are also printed in jones, leroi (aka Amiri Baraka), Black Music.William Morrow Company, New York, 1972. Page 63. 16 jones, leroi.  
    http://www.cs.wisc.edu/~wright/music/coltrane-ellison/paper_fn.html
    
    Extractions: In 1986, 14.8% of blacks couldn't find a job, as opposed to 6.8% of whites. See: Folbre, Nancy and the Center for Popular Economics, A Field Guide to the U.S. Economy . Pantheon Books, New York, 1987. Page 4.7. For more detailed statistics based on both race and age, see: Devine, Joel, and Wright, James, The Greatest of Evils . Aldine De Gruyter, New York, 1993. Pages 148-158. For another account, see: Farley, Reynolds, The Color Line and the Quality of Life in America . Reynolds Farley and Walter R. Allen for the National Committee for Research on the 1980 Census. Oxford University Press, New York. 1989. Pages 209 through 256. For example, in 1985, 20% of white families received more than $50,000 a year, while only 7% of black families made that much. Statistical Abstract of the U.S. 1985 . U.S. Bureau of the Census. Page 436, table 731. In Savage Inequalities , Jonathan Kozol writes, "Average expenditures per pupil in the city of New York in 1987 were some $5,500." In the highest spending suburbs of New York funding levels rose above $11,000, with the highest districts in the state around $15,000." The New York city school districts he refers to are predominately Black and Latino. This phenomenon is by no means restricted to New York city. For example, in 1989 in Chicago, the average spending per pupil was again $5,500, but in northern suburbs (which are largely white) the average was between $8,500 and $9,000. Kozol, Jonathan, Savage Inequalities

54. Amiri Baraka (LeRoi Jones):
    Amiri Baraka (leroi jones) Ancient Music. The main thing to be againstis Death! Everything Else is a Chump! In the Funk World. If  
    http://www.geocities.com/Paris/Louvre/8882/AfricanAmericanPoets/baraka.html
    
    Extractions: God? leroy I wanted to know my mother when she sat looking sad across the campus in the late 20's into the future of the soul, there were black angels straining above her head, carrying life from our ancesters, and knowledge, and the strong nigger feeling. She sat (in that photo in the yearbook I showed Vashti) getting into new blues, from the old ones, the trips and passions showered on her by her own. Hypnotizing me, from so far ago, from that vantage of knowledge passed on to her passed on to me and all the other black people of our time. When I die, the consciousness I carry I will to black people. May they pick me apart and take the useful parts, the sweet meat of my feelings. And leave the bitter bullshit rotten white parts alone.

55. The Beat Generation At The Blue Neon Alley
    A gateway to the beat generation on the World Wide Web.Category Arts Literature Periods and Movements Beat Black Art A Poem, Amiri Baraka Encyclopedia Britannica, leroi jones The BeatPage, leroi jones Poetry Previews. leroi jones Biography, Jack Kerouac 19261969.  
    http://www.geocities.com/terry_young/beatgeneration.html
    
    Extractions: "These Words I Write" Charles Bukowski Charles Bukowski BUKOWSKI GESELLSCHAFT From Germany Charles Bukowski Memorial Center for Classical Latin Studies Charles Bukowski Poetry Previews Charles Bukowski Anti Heros Black Sparrow Charles Bukowski At the "Beat Page". Charles Bukowski At "Literary Kicks". Charles Bukowski Ecyclopedia Britannica Charles Bukowski An LA Times Article Charles Bukowski An Introduction Charles Bukowski At Literary Kicks Neal Cassady 1926-1968 Neal Cassady at the Blue Neon Alley Gregory Corso 1930-2001 Gregory Corso at the Blue Neon Alley Diane di Prima 1934 Diane di Prima at the Blue Neon Alley Lawrence Ferlinghetti 1919 Lawrence Ferlinghetti at the Blue Neon Alley Allen Ginsberg 1926-1997 Allen Ginsberg at the Blue Neon Alley John Clellon Holmes 1926-1994 John Clellon Holmes At "Literary Kicks" John Clellon Holmes : Heavenly Lane John Clellon Holmes : Beatland Author : From Letter by Allen Ginsberg

56. The Autobiography Of Leroi Jones
    The Autobiography of leroi jones. Paperback Edition, by Imamu AmiriBaraka, Complete Edition, 476 pages, Published by Lawrence Hill  
    http://home.swbell.net/worchel/auoflejo.htm

57. Imamu Amiri Baraka (LeRoi Jones) (1934 - )
    Imamu Amiri Baraka (leroi jones) (1934 ) A Poem for Speculative Hipsters. Hehad got, finally,. to the forest. of motives. There were no. owls, or hunters.  
    http://www.spoem.com/english_p6/baraka3.htm
    
    Extractions: Imamu Amiri Baraka (LeRoi Jones) (1934 - ) A Poem for Speculative Hipsters He had got, finally, to the forest of motives. There were no owls, or hunters. No Connie Chatterleys resting beautifully on their backs, having casually brought socialism to England. Only ideas, and their opposites. Like, he was really nowhere.

58. Imamu Amiri Baraka (LeRoi Jones) (1934 - )
    Imamu Amiri Baraka (leroi jones) (1934 ). 1934 New Jersey? Newark? ? ? leroi jones? ? .  
    http://www.spoem.com/english_p6/baraka.htm
    
    Extractions: Imamu Amiri Baraka (LeRoi Jones) (1934 - ) 1934³â¿¡ New JerseyÀÇ NewarkÀ̶ó´Â ºó¹Î±¼¿¡¼­ ž LeRoi Jones´Â ¿ÜÁö·Î µ¹¾Æ ´Ù´Ï´Ù°¡ 32³â¸¸¿¡ Imamu Baraka¶ó´Â À̸§À¸·Î °³¸íÇÏ°í °íÇâÀ¸·Î µ¹¾Æ¿Í ÈæÀοÀ» ÇÏ ¿´´Ù. ±×´Â "ÈæÀÎ ¿¹¼ú°¡µéÀÌ ¹Ì±¹¿¡¼­ ÇÏ´Â ¿ªÇÒÀº ¹Ì±¹À» Æı«Çϴµ¥ ±×°¡ ±×°ÍÀ» ¾Ë°í ÀÖ´Â ´ë·Î µµ¿òÀ» ÁÖ´Â °Í"À̶ó°í ¸»Çϱâ±îÁö ÇÏ¿´´Ù. ±×´Â ÅëÇÕµÈ »çȸÀÇ °³³ä, Àû¾îµµ ´Ù Jones´Â Á¶¼÷ÇÏ¿© °íµîÇб³¸¦ 2³â ÀÏÂï Á¹¾÷ÇÏ°í Howard University¸¦ ´Ù³æÀ¸¸ç °ø±º¿¡ ¼­ Ç×°ø±â»ó ±â·Ï¿øÀ¸·Î 2³â¹Ý µ¿¾È ±Ù¹«Çß´Ù. ±× ÈÄ ±×´Â Columbia ´ëÇп¡¼­ µ¶ÀϹ®ÇÐ Àü °øÀ¸·Î ÇлçÇÐÀ§¸¦ ¹Þ¾Ò´Ù. ±×´Â Allen Ginsberg °°Àº Beat ½ÀÎµé ¹× Frank O'Hara °°Àº ´º¿åÇÐÆÄÀÇ ½Àεé°ú ±³·ùÇß´Ù. ±×´Â 1959³â¿¡ "³ª¿¡°Ô´Â ·Î¸£Ä«(Lorca), Àª¸®¾öÁî

59. LeRoi Jones = Amiri Baraka
    http://www.buch-ton.com/p39.html
    
    Extractions: In seinen musikkritischen Betrachtungen aus den sechzigern, der Blütezeit des schwarzamerikanischen Free Jazz, sucht er die Verbindung von Politik und Kultur. Dabei begeistert seine schon leidenschaftliche Einseitigkeit, mit der er die Vorzüge der "Schwarzen Kultur" preist und sie gegenüber einer dekadenten bürgerlich "Weißen" Kultur hervorhebt. Und das alles eben nicht auf der Ebene ideologisch verbrämten Gewäschs, sondern sehr wohl fundiert auf einer soliden Basis von Wissen um ästhetische und politische Zusammenhänge der Produktions- und Rezeptionsprozesse in der Kunst.

60. LeRoi Jones On Closed-mindedness - Vagablogging.net - Rolf Potts
    « Kurt Vonnegut on travel suggestions Main Rosita Forbes on the anticipationof travel » January 17, 2003. leroi jones on closedmindedness.  
    http://www.vagablogging.net/archives/000229.shtml

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