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Kerry's Slogan comes from "Little Red Book"

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Big Kahuna
Lieutenant

Joined: 18 May 2004
Posts: 219
Location: SE Texas

Posted: Tue May 25, 2004 12:56 am Post subject: Kerry's Slogan comes from "Little Red Book"

Quote:

Kerry's Stalinist Slogan

By Insight Magazine
Insightmag.com | May 24, 2004

Insiders say John Kerry has settled on "Let America Be America Again" as the motto and theme of his presidential campaign. The line comes from a Langston Hughes poem Kerry quoted at an NAACP event in Kansas. Apparently the pedantic St. Paul's and Yale graduate didn't bother to note that it was written for an International Workers Order (IWO) pamphlet called A New Song. The IWO was an officially cited affiliate of the Communist Party, and Hughes was so committed a Stalinist that he formally endorsed the Bolshevik purges.

Then there is Langston Hughes' poem "Goodbye Christ," written for the (Communist) Negro Worker. It starts:

Listen Christ,
You did alright in your day, I reckon --
But that day's gone now.
They ghosted you up a swell story, too.
Called it Bible -- but it's dead now. ...
Make way for a new guy with no religion at all --
A real guy named
Marx Communist Lenin Peasant Stalin Worker ME
I said, ME! ..."

Great choice, Kerry. Just what kind of a lunatic is this guy?

http://www.frontpagemag.com/Articles/ReadArticle.asp?ID=13491
_________________
Top 10 Weasels.com is where Kerry is Weasel #1

Craig
Guest

Posted: Tue May 25, 2004 3:15 am Post subject: Re: Kerry's Slogan comes from "Little Red Book"

Big Kahuna wrote:

Quote:

http://www.frontpagemag.com/Articles/ReadArticle.asp?ID=13491

Let America Be America Again
by Langston Hughes

Let America be America again.
Let it be the dream it used to be.
Let it be the pioneer on the plain
Seeking a home where he himself is free.

(America never was America to me.)

Let America be the dream the dreamers dreamed--
Let it be that great strong land of love
Where never kings connive nor tyrants scheme
That any man be crushed by one above.

(It never was America to me.)

O, let my land be a land where Liberty
Is crowned with no false patriotic wreath,
But opportunity is real, and life is free,
Equality is in the air we breathe.

(There's never been equality for me,
Nor freedom in this "homeland of the free.")

Say, who are you that mumbles in the dark?
And who are you that draws your veil across the stars?

I am the poor white, fooled and pushed apart,
I am the Negro bearing slavery's scars.
I am the red man driven from the land,
I am the immigrant clutching the hope I seek--
And finding only the same old stupid plan
Of dog eat dog, of mighty crush the weak.

I am the young man, full of strength and hope,
Tangled in that ancient endless chain
Of profit, power, gain, of grab the land!
Of grab the gold! Of grab the ways of satisfying need!
Of work the men! Of take the pay!
Of owning everything for one's own greed!

I am the farmer, bondsman to the soil.
I am the worker sold to the machine.
I am the Negro, servant to you all.
I am the people, humble, hungry, mean--
Hungry yet today despite the dream.
Beaten yet today--O, Pioneers!
I am the man who never got ahead,
The poorest worker bartered through the years.

Yet I'm the one who dreamt our basic dream
In the Old World while still a serf of kings,
Who dreamt a dream so strong, so brave, so true,
That even yet its mighty daring sings
In every brick and stone, in every furrow turned
That's made America the land it has become.
O, I'm the man who sailed those early seas
In search of what I meant to be my home--
For I'm the one who left dark Ireland's shore,
And Poland's plain, and England's grassy lea,
And torn from Black Africa's strand I came
To build a "homeland of the free."

The free?

Who said the free? Not me?
Surely not me? The millions on relief today?
The millions shot down when we strike?
The millions who have nothing for our pay?
For all the dreams we've dreamed
And all the songs we've sung
And all the hopes we've held
And all the flags we've hung,
The millions who have nothing for our pay--
Except the dream that's almost dead today.

O, let America be America again--
The land that never has been yet--
And yet must be--the land where every man is free.
The land that's mine--the poor man's, Indian's, Negro's, ME--
Who made America,
Whose sweat and blood, whose faith and pain,
Whose hand at the foundry, whose plow in the rain,
Must bring back our mighty dream again.

Sure, call me any ugly name you choose--
The steel of freedom does not stain.
From those who live like leeches on the people's lives,
We must take back our land again,
America!

O, yes,
I say it plain,
America never was America to me,
And yet I swear this oath--
America will be!

Out of the rack and ruin of our gangster death,
The rape and rot of graft, and stealth, and lies,
We, the people, must redeem
The land, the mines, the plants, the rivers.
The mountains and the endless plain--
All, all the stretch of these great green states--
And make America again!

Craig
Guest

Posted: Tue May 25, 2004 3:29 am Post subject: Re: Kerry's Slogan comes from "Little Red Book"

[quote="Big Kahuna"]

Quote:

Kerry's Stalinist Slogan

snip

And do you bother to research to know anything about those you slander?

"Hughes's poem 'Goodbye, Christ', written during the journey, was attacked by a right-wing religious group in the 1940s. Although Hughes decided to repudiate the poem publicly, he also embraced radical politics ...."

"Hughes's inaccurate reputation for being a Communist dates from his poems in the 1930s. In 1953, during the era of McCarthyism, Hughes tested to the Senate committee that he was not, and never had been, a Communist. He named no names, well aware of blacklisting and its effects on such radicals as Paul Robertson."

Langston Hughes (1902-1967)

African-American poet, novelist, and playwright, who became one of the foremost interpreters of racial relationships in the United States. Influenced by the Bible, W. E. B. Du Bois, and Walt Whitman, Hughes depicted realistically the ordinary lives of black people. Many of his poems, written in rhythmical language, have been set to music. Hughes's poems were meant 'to be read aloud, crooned, shouted and sung'.

"Rest at pale evening...
A tall slim tree...
Night coming tendrerly
Black like me.
(from Dream Variations, 1926)

James Langston Hughes was born in Joplin, Missouri. His mother was a school teacher, she also wrote poetry. His father, James Nathaniel Hughes, was a storekeeper. He had wanted to become a lawyer, but he had been denied to take the bar exam. Hughes's parents separated and his mother moved from city to city in search of work. In his rootless childhood, Hughes lived in Mexico, Topeka, Kansas, Colorado, Indiana and Buffalo. Part of his childhood Hughes lived with his grandmother. At the age of 13 he moved back with his mother and her second husband. Later the family moved to Cleveland, Ohio, where Hughes's stepfather worked in the steel mills. During this period Hughes found the poems of Carl Sandbury, whose unrhymed free verse influenced him deeply. After graduating from a high school in Cleveland, Hughes spent a year in Mexico with his light-skinned father, who had found there a release as a successful cattle rancher from racism of the North. On the train, when he returned to the north, Hughes wrote one of his most famous poems, 'The Negro Speaks of Rivers'. It appeared in the African-American journal Crisis (1921). As an adolescent in Cleveland he participated in the activity of Karamu Players, and published in 1921 his first play, THE GOLDEN PIECE in 1921.

Supported by his father, Hughes entered in the early 1920s the Columbia University, New York. For the permanent disappointment of his father, Hughes soon abandoned his studies, and participated in more entertaining jazz and blues activities in nearby Harlem. Disgusted with life at the university and to see the world, he enlisted as a steward on a freighter bound to West Africa. He traveled to Paris, worked as a doorman and a bouncer of a night club, and continued to Italy.

After his return to the United States, Hughes worked in menial jobs and wrote poems, which earned him scholarship to Lincoln University in Pennsylvania. According an anecdote, Hughes was "discovered" by the poet Vachel Lindsay in Washington. Lindsay was dining at the Wardman Park Hotel, where Hughes worked as a busboy, and dropped his poems beside the Lindsay's dinner plate. Lindsay included several of them in his poetry reading. It prompted interviews of the "busboy poet". Hughes quit his job and moved to New York City.

In 1929 Hughes received his bachelor's degree. He was celebrated as a young promising poet of the generation, publishing his poetry in Crisis (1923-24) and in Alain Locke's anthology The New Negro (1925). His first book of verse, THE WEARY BLUES, supported by Carl Van Vechten, appeared in 1926. "My news is this: that I handed The Weary Blues to Knopf yesterday with the proper incantations. I do not feel particularly dubious about the outcome: your poems are too beautiful to escape appreciation. I find they have a subtle haunting quality which lingers in the memory and an extraordinary sensitivity to all that is kind and lovely." (from Van Vechten's letter to Hughes in Remember me to Harlem, ed. by Emily Bernard, 2001) Hughes valued Van Vechten's criticism and dedicated him his second collection of poetry, FINE CLOTHES TO THE JEW (1927). Their correspondence, which lasted until Van Vechten's death in 1964, was published in 2001. The Weary Blues assimilated techniques associated with the secular music with verse, while its content reflected the lives of African-Americans. "Drowning a drowsy syncopated tune, / Rocking back and forth to a mellow croon, / I heard a Negro play. / By the pale dull pallor of an old gas light / He did a lazy sway... / He did a lazy sway..." (from 'The Weary Blues,' the title poem of the collection)

Hughes was considered one of the leading voices in the Harlem Renaissance of the 1920s His first novel, NOT WITHOUT LAUGHTER (1930), Hughes wrote with the financial support of Charlotte Mason, a wealthy white woman. The book had a cordial reception and Hughes bought a Ford. He toured the colleges of southern America as a teacher and poet.

Hughes was one of the first black authors, who could support himself by his writings. In the 1930s Hughes traveled in the Soviet Union, Haiti, and Japan. During his visit in the Soviet Union, to write the English dialogue for a film about black American workers, he had also an affair with an Oriental ballerina. Hughes's poem 'Goodbye, Christ', written during the journey, was attacked by a right-wing religious group in the 1940s. Although Hughes decided to repudiate the poem publicly, he also embraced radical politics, publishing a collection of satiric short stories, THE WAY OF WHITE FOLKS (1943), and returned to satire and racial prejudices later in LAUGHING TO KEEP FROM CRYING (1952) and SOMETHING IN COMMON (1963). Hughes emphasized the importance of African culture and shared Du Bois's belief that renewal could only come from an understanding of African roots.

"My old man died in a fine big house.
My ma died in a shack.
I wonder where I'm gonna die,
Being neither white nor black?"
(from 'Cross')

Hughes's play THE MULATTO (1935), revised without his knowledge, opened on Broadway in 1935. The producer inserted a rape in it. Alterations displeased Hughes, but in the same year he won a Guggenheim Fellowship. He founded in the 1930s and 1940s black theatre groups in Harlem, Chicago, and Los Angeles. In the Spanish Civil War (1937) he served as a newspaper correspondent for the Baltimore Afro-American. During this time he became a friend of Ernest Hemingway, with whom he attended bullfights. In 1942 he made Harlem his permanent home, although he began lecturing at universities around the country. Hughes wrote children's stories, non-fiction, and numerous works for the stage, including lyrics for Kurt Weill's and Elmer Rice's opera Street Scene, screenplay for the Hollywood film Way Down South with the actor Clarence Muse, and translated the poetry of Federico García Lorca and Gabriela Mistral. Hughes's Christmas play, Black Nativity, has been produced every year by major black theaters.

Hughes's inaccurate reputation for being a Communist dates from his poems in the 1930s. In 1953, during the era of McCarthyism, Hughes tested to the Senate committee that he was not, and never had been, a Communist. He named no names, well aware of blacklisting and its effects on such radicals as Paul Robertson. In several of his poems, Hughes had expressed with ardent voice sociopolitical protests. He portrayed people, whose lives were impacted by racism and sexual conflicts, he wrote about southern violence, Harlem street life, poverty, prejudice, hunger, hopelessness. But basically he was a conscientious artist, kept his middle-of-the road stance and worked hard to chronicle the black American experience, contrasting the beauty of the soul with the oppressive circumstance.

"Wear it
Like a banner
For the proud -
Not like a shroud."
(from Color, 1943)

In the 1950s Hughes published among others MONTAGE OF A DREAM DEFERRED (1951), which included his famous poem 'Harlem', PICTORIAL HISTORY OF NEGRO IN AMERICA (1956), and edited THE BOOK OF NEGRO FOLKLORE (1958) with Arna Bontemps. Hughes's autobiographicals books include THE BIG SEA (1940) and I WONDER AS I WANDER (1956). For juveniles he did a series of 'Famous' biographies, beginning with FAMOUS AMERICAN NEGROES (1954). His popular comic character Jesse B. Semple, or "Simple," appeared in columns for the Chicago Defender and the New York Post. Hughes had met the prototype of the character in a bar. The ironic comments of the street-wise Harlem dweller were first collected into SIMPLE SPEAKS HIS MIND (1950). In the last Simple collection, SIMPLE'S UNCLE SAM (1965), Hughes wrote: "My mama should have named me Job instead of Jesse B. Semple. I have been underfed, underpaid, undernourished, and everything but undertaken - yet I am still here. The only thing I am afraid of now - is that I will die before my time."

In his later years Hughes held posts at the Universities of Chicago and Atlanta. The poet also witnessed that doctoral dissertations already begun to be written about him - the earliest book on his work appeared already in the 1930s. Hughes never married and there has been unrelevant speculations about his sexuality. Several of his friends were homosexual, among them Carl Van Vechten, who wrote the controversial novel Nigger Heaven (1926) - Hughes had recommended the choice of the title - but several were not. Hughes died in Polyclinic Hospital in New York, on May 22, 1967, of complications after surgery. His collection of political poems, THE PANTHER AND THE LASH (1967), reflected the anger and militancy of the 1960s. The book had been rejected first by Knopf in 1964 as too risky. Hughes's own history of NAACP appeared in 1962; he had received a few year's earlier the NAACP'S Spingarn Medal.

Hughes published more than 35 books, he was a versatile writer, but he hated "long novels, narrative poems", as he once said. Although the Harlem Renaissance faded away during the Great Depression, its influence is seen in the writings of later authors, such as James Baldwin, who, however, criticized Hughes's poetic achievement. From the late 1940's through the 1950's Hughes revised under pressure his poems- may of them became less tough.

For further reading: To Make a Black Poet by S. Redding (1939); Langston Hughes by J. Emanuel (1967); Black Genius: A Critical Evaluation, ed. by T. O'Daniel (1971); A Biobibliography of Langston Hughes 1902-1967 by D.C. Dickinson (1972); Langston Hughes: The Poet and His Critics by R.K. Barksdale (1977); The Life of Langston Hughes: 1902-1941: I, Too, Sing America by Arnold Rampersad (1986); The Life of Langston Hughes, 1941-1967: I Dream a World by Arnold Rampersad (1988); The Art and Imagination of Langston Hughes by R. Baxter Miller (1990); Langston Hughes: Critical Perspectives Past and Present, ed. by Henry Louis Gates (1993); Langston Hughes: A Study of the Short Fiction by Hans Ostrom (1993); Coming Home: From the Life of Langston Hughes by Floyd Cooper (1994 - note: for ages 4- Cool

; Free to Dream by Audrey Osofsky (1996 - note: for ages 9-12); Langston Hughes by Joseph McLaren et al (1997); Langston Hughes: Poet of the Harlem Renaissance by Christine M. Hill (1997); Langston Hughes: Comprehensive Reserach and Study Guide, ed. by Harold Bloom (1999); Remember me to Harlem: The Letters of Langston Hughes and Carl Van Vechten, 1925-1964, edited by Emily Bernard (2001) - Harlem Renaissance: Countee Cullen - Harlem literature: (novels) Jean Toomer's experimental Cane (1923), Claude McKay's Home to Harlem (1928); Countee Cullen's One Way to Heaven (1932), Anna Bontemps's Black Thunder (1936); (poems and plays) Abraham Hill's On Striver's Row (1933), Langston Hughes's Shakespeare in Harlem (1942) - Harlem Renaissance, see This Was Harlem by Jervase Anderson (1981), Modernism and the Harlem Renaissance by Houston A. Baker Jr (1987) - Note: Hughes's 'The Negro Speaks of Rivers,' written on a train taking him to Mexico, has been among the most quoted of all poems by black poets.

Selected works:

* THE NEGRO SPEAKS OF RIVERS, 1921 ( poem published in the journal Crisis)
* THE GOLD PIECE, 1921
* THE WEARY BLUES, 1926 (incl. poem Dream Variation)
* FINE CLOTHES TO THE JEW, 1927
* NOT WITHOUT LAUGHTER, 1930
* THE NEGRO MOTHER AND OTHER DRAMATIC RECITATIONS, 1931
* MULE BONE, 1931 (with Zora Neale Hurston)
* DEAR LOVELY DEATH, 1931
* THE DREAM KEEPER, 1932
* SCOTTSBORO LIMITED, 1932
* POPO AND FIFINA, 1932 (with Arna Bontemps)
* THE WAYS OF THE WHITE FOLKS, 1934
* LITTLE HAM, 1935 (play)
* THE MULATTO, 1935 (play)
* EMPEROR OF HASITI, 1936 (play)
* TROUBLED ISLAND, 1936 (play)
* WHEN THE JACK HOLLERS, 1936 (play)
* FRONT PORCH, 1937 (play)
* JOY TO MY SOUL, 1937 (play)
* SOUL GONE HOME, 1937 (play)
* DON'T YOU WANT TO BE FREE?, 1938 (play)
* A NEW SONG, 1938
* THE EM-FUEHRER JONES, 1938 (play)
* LIMITATIONS OF LIFE, 1938 (play)
* LITTLE EVA'S END, 1938 (play)
* THE ORGANIZER, 1939 (play)
* THE BIG SEA, 1940
* SHAKESPEARE IN HARLEM, 1941
* THE SUN DO MOVE, 1942 (play)
* WAY DOWN SOUTH, 1942 (screenplay)
* FOR THIS WE FIGHT, 1943 (play)
* FREEDOM'S PLOW, 1943
* JIM CROW'S LAST STAND, 1943
* LAMENTS FOR DARK PEOPLES, 1944
* FIELDS OF WONDER, 1947
* translation: Jacques Roumain's Masters of Dew, 1947 (with M. Cook)
* translation: Nicholas Guillen's Cuba Libre, 1948 (with F. Carruthers)
* ONE-WAY TICKET, 1949
* THE POETRY OF THE NEGRO, 1949 (ed.)
* SIMPLE SPEAKS HIS MIND, 1950
* THE BARRIES, 1950 (play)
* MONTAGE OF A DREAM DEFERRED, 1951 (incl. poem Harlem)
* LAUGHING TO KEEP FROM CRYING, 1952
* THE FIRST BOOK OF NEGROES, 1952
* SIMPLE TAKES A WIFE, 1953
* FAMOUS AMERICAN NEGROES, 1954
* THE FIRST BOOK OF RHYTHMS, 1954
* FAMOUS NEGRO MUSIC MAKERS, 1955
* THE FIRST BOOK OF JAZZ, 1955
* THE SWEET FLY-PAPER OF LIFE, 1955
* I WONDER AS I WANDER, 1956
* THE FIST BOOK OF WEST INDIES, 1956
* A PICTORIAL HISTORY OF NEGRO IN AMERICA, 1956 (with Milton Meltzer)
* translation: Selected Poems of Gabriel Mistral, 1957
* SIMPLE STAKES A CLAIM, 1957
* SIMPLY HEAVEN, 1957 (play)
* TAMBOURINES GO TO GLORY, 1958
* FAMOUS NEGRO HEROES OF AMERICA, 1958
* THE BOOK OF NEGRO FOLKLORE, 1958 (ed. with Arna Bontemps)
* THE FIRST BOOK OF AFRICA, 1960
* THE BEST OF SIMPLE, 1961
* ASK YOUR MAMA, 1961
* BLACK NATIVITY, 1961 (play)
* GOSPEL GLORY, 1962
* FIGHT FOR FREEDOM: THE STORY OF THE NAACP, 1962
* FIVE PLAYS BY LANGSTON HUGHES, 1963 (plays)
* JERICO JIM CROW, 1963
* SOMETHING IN COMMON, 1963
* SIMPLE'S UNCLE SAM, 1965
* THE PRODIGAL, 1965 (play)
* SOUL YESTERDAY AND TODAY, 1965 (play)
* ANGELO HERDNON-JONES, 1966 (play)
* MOTHER AND CHILD, 1966 (play)
* OUTSHINES THE SUN, 1966 (play)
* TROUBLE WITH ANGELS, 1966 (play)
* THE PANTHER AND THE LASH, 1967
* BLACK MAGIC, 1967 (with Milton Meltzer)
* BLACK MISERY, 1969
* GOOD MORNING REVOLUTION, 1973
* THE COLLECTED POEMS OF LANGSTON HUGHES, 1994
* THE PASTEBOARD BANDIT, 1997 ( illustrated by Peggy Turley)
* COLLECTED WORKS OF LANGSTON HUGHES, 2001-2002 (18 vols.)

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