Holding Your Hand………

بسم الله الرحمن الرحيم

I Wanna Hold Your Hand.
And, Interlock This Prodigious Love Between Our Fingers
Your Digits Radiate From Such A Sturdy Palm –
Each Phalange, Rock Solid And Adroitly Adept
Symbolizes Strength And Agility
Gently, You Squeeze
Reassuring Me Of Your Infinite Devotion
And Ability To Protect
And I Feel Secure From
Just The Touch
Of Your Hand……

RHYTHM, RHYME & REASON

بِسْــــــــــــــــــمِ اﷲِالرَّحْمَنِ اارَّحِيم

A SUMMER STROLL

WHERE WATER AND LAND MEET……

YOUR ARM –

LONG AND STRONG

DRAPES LOVINGLY, PROTECTIVELY,

YET CASUALLY ACROSS MY SHOULDERS

YOUR CHISELED PROFILE

MAKES ME SWEAT

VAN DYKE, LIKE A CIPHER

ENCIRCLES MY NECK

HINT OF BROWN IN YOUR EYE

NO TRACE OF A SMILE

DEEP IN THOUGHT

YOU READ MINE.

AMAZED AT YOUR DIVINITY

I GAZE AGAPE IN WONDER

WAITING FOR THE FRONTAL

MAGNETICALLY,

KINETICALLY,

WE PULL TOGETHER

BOTH ANXIOUSLY ANTICIPATING THE INEVITABLE

YOUR SCENT INCITES ME TO ACTION

PHEROMONES HEIGHTEN OUR PASSION

I INHALE DEEPLY

AND PERFECTION FILLS MY LUNGS

TACITLY, THE AGILE LIPS

OF THE ILLEST EMCEE

COVER THE FRAGILE LIPS

OF HIS NUMBER ONE FAN

THE RUMBLINGS OF A NEW RHYME BEGIN TO FORM,

FASHIONABLY TAKING SHAPE WITHIN

THE POET & THE MUSE

FUSED TOGETHER

AS ONE

NEVER TO BE ASUNDER

Omnipresence….

بِسْــــــــــــــــــمِ اﷲِالرَّحْمَنِ اارَّحِيم

WORD IS BOND

I Feel Your Presence

Every Now And Again

I Turn Around Expecting To See You

And I Feel You Gazing

From Your Picture

Smiling Back At Me

And It’s Almost

Just As Good

For Life….

بِسْــــــــــــــــــمِ اﷲِالرَّحْمَنِ اارَّحِيم

CHESTNUT EYES

EYES THE COLOR OF CHESTNUTS

BRILLIANTLY BROWN

GLOWING

NOT WITHHOLDING

THE FIRE BURNING WITHIN

DEEP DOWN

UNDERNEATH THE SURFACE

IT’S LOVE

(FOR ME)

YOU CAN’T HIDE IT

IT’S THERE FOR EVERYONE TO SEE

IF THEY KNOWIN’…. 😉

ESPECIALLY ME

YOU CAN’T DENY YOUR LOVE FOR ME

* * * * *

SWEET AS CHOCOLATE DEMEANER

A DEMEANER AS SWEET AS CHOCOLATE

MILKY AND AS SWEET AS CHOCOLATE

AN HONOUR FROM FIRST GLANCE

JUST TO SEE YOU IN YOUR B-BOY STANCE

HUMBLED BY YOUR SALIENT GAZE
MY PURPOSE IN LIFE
IS TO PLEASE YOU
YOUR HIGHNESS
YOUR EVERY WISH IS MY COMMAND
I ADORE YOU
YOUR MAJESTY
YOU ARE MY WORLD,
– THE QUEEN

FIRST KISS

بِسْــــــــــــــــــمِ اﷲِالرَّحْمَنِ اارَّحِيم

Outside the Girls’ Gymnasium

I Think it was

Right After Lunch

Right Before Drill Team

(Maybe Not)

Hurriedly Excited

You Were

I Didn’t Know It Then

You Must’ve Been

What A Fool I Was

Not To See

How Madly In Love

You Were With Me

*****

Took My Whole Adult Life

To Realize

How Much That Kiss Meant

Wasted Nearly Thirty (30) Years

Trying To Find

A Substitute

For You –

Someone In Your Class (Stead)

Allah (God) Told Me

“IT’S IMPOSSIBLE!!!”

No One In The Universe

Can Take Your Place

I Submit (Give Up)

To You

I’ll Spend The Rest Of My Life

Waiting

For

Another

One

STUCK-UP?

 بِسْــــــــــــــــــمِ اﷲِالرَّحْمَنِ اارَّحِيم

I have the sinking feeling

I’m stuck-up

But I’m poor

I’m arrogant

But broke

Humble Pie is not at all sweet

I have high hopes

Watching other people smile

And smoke

Though MY pipe dreams

Are Very Much Undeferred

Undeterred

I shovel through the obstacles

Headed Steadfastly Toward The Light

Nose Lowered To Receive Assistance

From Friends In Low Places

Trying To Place The Faces

Forget The Names

They’re All The Same

Sorry.

Cut Me Another Slice Of Humble Pie

Trying Not To Think

I’m Better

Our Beloved Messenger (PBUH)

Taught Us To Be

“Humble Yet Commanding”

I Go From A Pedestal

To The Mud

In 2 Seconds Flat

Bi-Polarity

Is Only Fun Half of the Time

The Other Half Is Spent

Trying To Remember What The 1st 1/2 Felt Like

And Trying To Return

LEIMERT PARK FOLKS

بِسْــــــــــــــــــمِ اﷲِالرَّحْمَنِ اارَّحِيم

ARTSY

HOMELESS

PLAYER or PIMP

HARD TO TELL

MUSICIANS – Dime a Dozen

WINOS – the same….

STYLISHLY FASHIONABLE “Smoker Ladiez”

VIRGIL – “THE VILLAGE CRIER”

SHABAZZ CATERERS WHO AREN’T MUSLIM

FAKE MUSLIMS

MOORS

NGEs

ONE FIVE PERCENTER (PRT_ME) 😉

MASONS

HOMIES

CASUAL OBSERVERS

BEAN SOUP SCIENTISTS

HYPOCRITES

AGENTS

SODOMITES

PERMANENTLY UNDERGROUND EMCEES

HIP-HOP HEADZ

PREDATORS

PREY

TRY TO STAY AFLOAT

FAMILIAR FACES (Boring)

NEW FACES (White)

U.N.W.E.L.C.O.M.E.!

MONEY-HUNGRY MERCHANTS CANNIBALIZING CULTURE

DEVIL-LOVERS COMMERCIALIZING OFF MY (OUR) HERITAGE

SEARCHING DESPERATELY

FOR A

SILVER LINING

NO HOLE IN MY PENNY YET

JUST WAITING TO SEE WHAT HAPPENS NEXT

BUT MOESHA IS LONG-GONE

THINKING ABOUT MOVING

NOWHERE TO BE FOUND

M.I.A.

JUST A FADED MEMORY

Just a memory….

Sadness In Your Smile….

بِسْــــــــــــــــــمِ اﷲِالرَّحْمَنِ اارَّحِيم

I See It

And

Know

That

I

Am

The

Cause

😦

Your Eyes Don’t Have That Shine Anymore, Baby

What Happened To The Sparkle In Your Smile? 😦

You Don’t Even Look Happy When You’re Smiling….

You’ve Lost Your Glow, Sweet Honey-Stick –

And I’m The ONLY ONE Who Can Return It –

It Makes Me Sad To See You Look So Sad When You’re Smiling

You Need Me

To Make You Smile (Happy)

In Your Eyes….

I Saw It The Last Time I Saw You. 😀

It Fills My Heart With Joy –

My Knees Get Weak –

My Insides Turn To Melted Butter –

The Belly Butterflies Start To Flutter –

& When Our Gazes Mingle

We Both Get That Tingle….

That Only The Other Can Inspire

You Set My Heart Afire

I’m Back-Flipping On A High-Wire

Our Hearts Race Like Cheetahs

And Love Runs Just As Wild & Free

I Carouse Through The City

Hoping I’ll See THE Smile

That I Haven’t Seen In Quite Awhile

Not Since The Last Time I Saw You 😉

Stevie Wonder Can See

The Sadness In Your Smile

Your Eyes Belie Your Grin

Your Sadness From My Sin

I Know You Too, Sugar-Pie

I’m Sorry

&

Whether You Want To Admit It

Or Not

You Need Me

PAUL LAURENCE DUNBAR

بِسْــــــــــــــــــمِ اﷲِالرَّحْمَنِ اارَّحِيم

We Wear the Mask

We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,—
This debt we pay to human guile;
With torn and bleeding hearts we smile,
And mouth with myriad subtleties.
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
       We wear the mask.
We smile, but, O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;
But let the world dream otherwise,
       We wear the mask!
As-Salaamu ‘Alaikum Dearly Beloved Sisters (& Brothers 😉 )
If you have been following my blog, you know that I am very fond of The Harlem Renaissance and as a Black homemaker and homeschooler, we must educate our children on their own history. So, I am going to share with you my studies into The Harlem Renaissance and its “players.”
Being from L.A. and an avid jazz lover, I am particularly proud of the Dunbar Hotel on Central Avenue. So much so, that when I found out about a musical concerning the famous historic site, I went to any means so that I could be a part of the audience.
The musical featured a “Dunbar” character and it really piqued my interest in the man.
I Googled him and learned that he died before the said Harlem Renaissance even began, but he undoubtedly, like the owners of his namesake hotel, influenced many of its writers.

Biography of Paul Laurence Dunbar

Paul Laurence Dunbar poetDunbar was born in Dayton, Ohio to parents who had escaped from slavery; his father was a veteran of the American Civil War, having served in the 55th Massachusetts Infantry Regiment and the 5th Massachusetts Colored Cavalry Regiment. His parents instilled in him a love of learning and history. He was a student at an all-white high school, Dayton Central High School, and he participated actively as a student. During high school, he was both the editor of the school newspaper and class president, as well as the president of the school literary society. Dunbar had also started the first African-American newsletter in Dayton.He wrote his first poem at age 6 and gave his first public recital at age 9. Dunbar’s first published work came in a newspaper put out by his high school friends Wilbur and Orville Wright, who owned a printing plant. The Wright Brothers later invested in the Dayton Tattler, a newspaper aimed at the black community, edited and published by Dunbar.

His first collection of poetry, Oak and Ivy, was published in 1892 and attracted the attention of James Whitcomb Riley, the popular “Hoosier Poet”. Both Riley and Dunbar wrote poems in both standard English and dialect. His second book, Majors and Minors (1895) brought him national fame and the patronage of William Dean Howells, the novelist and critic and editor of Harper’s Weekly. After Howells’ praise, his first two books were combined as Lyrics of Lowly Life and Dunbar started on a career of international literary fame. He moved to Washington, D.C., in the LeDroit Park neighborhood. While in Washington, he attended Howard University.

His wife Alice Dunbar Nelson was a famous poet as well. A graduate of Dillard University in New Orleans, her most famous works include a short story entitled “Violets”. She and her husband also wrote books of poetry as companion pieces. An account of their love, life and marriage was depicted in a play by Kathleen McGhee-Anderson titled Oak and Ivy.

He kept a lifelong friendship with the Wrights, and was also associated with Frederick Douglass and Booker T. Washington. Brand Whitlock was also described as a close friend. He was honored with a ceremonial sword by President Theodore Roosevelt.

He wrote a dozen books of poetry, four books of short stories, five novels, and a play. He also wrote lyrics for In Dahomey – the first musical written and performed entirely by African-Americans to appear on Broadway in 1903; the musical comedy played successfully toured England and America over a period of four years – one of the more successful theatrical productions of its time. His essays and poems were published widely in the leading journals of the day. His work appeared in Harper’s Weekly, the Saturday Evening Post, the Denver Post, Current Literature and a number of other publications. During his life, considerable emphasis was laid on the fact that Dunbar was of pure black descent, with no white ancestors ever.

Dunbar’s work is known for its colorful language and use of dialect, and a conversational tone, with a brilliant rhetorical structure.

Dunbar traveled to England in 1897 to recite his works on the London literary circuit. He met the brilliant young black composer Samuel Coleridge-Taylor who some of his poems to music and who was influenced by Dunbar to use African and American Negro songs and tunes in future compositions.

After his return, Dunbar took a job at the Library of Congress in Washington. In 1900, Dunbar was diagnosed with tuberculosis, and moved to Colorado with his wife on the advice of his doctors. Dunbar died at age thirty-three on February 9, 1906 from tuberculosis, and was interred in the Woodland Cemetery, Dayton, Ohio.

THE HARLEM RENAISSANCE

 

 

بِسْــــــــــــــــــمِ اﷲِالرَّحْمَنِ اارَّحِيم

“HARLEM”

What happens to a dream deferred?

Does it dry up
like a raisin in the sun?
Or fester like a sore–
And then run?

Does it stink like rotten meat?
Or crust and sugar over–
like a syrupy sweet?

Maybe it just sags
like a heavy load.

Or does it explode?

As-Salaamu ‘Alaikum Dearly Beloved Asiatic Black Family!!!

I just found out recently that this poem was written by THE Langston Hughes!!!

Never did my High School English Lit teacher (an old white devil) inform his classes of the importance of the personality who was Langston Hughes nor of the magnitude of the context in which this powerful poem was written – The Harlem Renaissance.

I didn’t even realize that this poem, which I have never been able to forget and which also was the inspiration for Lorraine Hansbury’s stage-play “A Raisin in the Sun,” was even written by a Blackman – and Langston Hughes at that! I didn’t even know the poem was called “Harlem.”

But I digress, years later, in college, when I learned about the Harlem Renaissance, my professor lectured on the question that still plagues Black artists today, but which probably originated during the Renaissance, which was at that time referred to as THE “NEW NEGRO” MOVEMENT:

Should Black artists create ART FOR ART’S SAKE or for POLITICAL AWARENESS in the attempt to educate the masses and MAKE A STATEMENT through the medium of art/music/literature?

Of course, you can probably guess my stance on this topic, but I think Langston put it best in his article “The Negro Artist and the Racial Mountain” (1926)

“One of the most promising of the young Negro poets said to me once, ‘I want to be a poet–not a Negro poet,’ meaning, I believe, ‘I want to write like a white poet”; meaning subconsciously, ‘I would like to be a white poet’; meaning behind that, ‘I would like to be white.'”

The question, rather, the approach a Black artist takes towards his medium depends on his approach toward life in general, I believe.

If he feels politically driven, it will manifest itself through his art. If not, it won’t.

Your views?

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