{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://iastate.aviaryplatform.com/iiif/0000000d7g/manifest","type":"Manifest","label":{"en":["Brathwaite, Kamau, Poetry Reading"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/004/original/ISULogo.png?1601681107","metadata":[{"label":{"en":["Preferred Citation"]},"value":{"en":["Poetry Reading. Iowa State University Lecture Series (RS 8/6/53). Special Collections and University Archives, Iowa State University Library, Ames, Iowa."]}},{"label":{"en":["Publisher"]},"value":{"en":["Iowa State University. Special Collections and University Archives"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["There are no restrictions on access. (access)","This item is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. 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him,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=38.09,41.51"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"there will be a reception at the Black Cultural Center.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=41.51,44.76"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And that is, I believe 517 Welsh Avenue, is that right?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=44.76,49.76"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Immediately after the presentation this evening.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=50.18,53.343"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Dr. Brathwaite, I'm gonna get this very brief","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=56.21,61.11"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"because I cannot possibly cover his many books","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=61.11,64.68"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and articles and so on, but he is a Historian and a Poet","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=64.68,69.68"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and he got his doctorate at the University of Sussex.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=69.79,73.32"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He's won several Poetry prizes in 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University","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=82.31,84.83"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of the West Indies in Jamaica.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=84.83,87.23"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He grew up in Barbados and some of his 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Toronto","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=96.29,98.82"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and goes on tomorrow to Ohio.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=98.82,101.06"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So I think we were very fortunate indeed","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=101.06,103.09"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to catch him and have him here.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=103.09,105.12"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Edward, thank you.\n(audience applauds)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=105.12,108.897"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e Edward:\u003c/strong\u003e It's a great pleasure to be here.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=113.543,116.68"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I think it's about a year I've been trying","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=116.68,119.44"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to get here with one thing and another.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=119.44,122.97"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I've made it a last that I'm really very 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language","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=363.23,365.667"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and a new form using English as a base,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=365.667,369.37"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but playing upon that base and comfort,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=369.37,371.48"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"appointing it with all the elements of the cultures","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=371.48,374.73"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"which make up the Caribbean.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=374.73,376.233"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I express, I represent part of that experiment.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=377.17,382.17"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"My work is concerned in two areas, one with the 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granted.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=401.41,403.742"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We have to understand family forms.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=403.742,406.08"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We have to understand our own forms of economic resource","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=406.08,411.08"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"our own political thinking, our own theological ideas.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=411.73,416.539"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That's the one hand, and on the other hand,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=416.539,419.02"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"we have to express that in a way which is representative","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=419.02,422.93"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of the Caribbean so that I'm both Historian and Poet.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=422.93,426.68"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Very fortunately I need to be a historian","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=426.68,430.26"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in order to do the kind of work that I do in the 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Waal.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=1548.51,1550.503"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/381","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now this was on my first visit to Haiti the Black Republic.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=1551.48,1556.48"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/382","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"A place, which again we have never related with as we 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Prospero,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=1582.96,1585.67"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/389","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"against the overlord, against the oppressor.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=1585.67,1588.163"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/390","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the manner in which the 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spooks?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2625.03,2627.323"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/641","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So Goldstone went in.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2628.55,2630.193"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/642","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You could see he face whitening under he 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talking","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2636.97,2640.27"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/645","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"with ants hard was to stop myself, asking myself","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2640.27,2643.88"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/646","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"if he ever played Cricket on Bronx which 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Cricket.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2664.17,2666.513"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/655","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But Goldstone too deaf.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2668.2,2670.74"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/656","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Mother don't clean out the wax in 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sweet","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2690.87,2693.54"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/665","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but Lambert the start and burger long gone you can't find","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2693.54,2697.51"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/666","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"a man to hold up 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tourist.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2720.16,2722.84"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/673","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You're sprawl your ass all of them, a chair without asking","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2722.84,2725.71"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/674","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"me please leave no 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turnover?\n(laughs)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2745.92,2748.553"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/683","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We was only playing the MCC man.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2750.52,2753.768"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/684","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"MCC who come all the way out from 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shouting?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2802.02,2804.52"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/697","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Jesus Christ, man wanna see that shot.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2804.52,2807.12"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/698","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"All over the ground fellow shaking 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glory","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2844.7,2848.42"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/711","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and the government stamps.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2848.42,2850.66"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/712","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"If it wasn't there to see for myself","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2850.66,2852.5"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/713","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I would have never believe it, I would never believe it.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=2852.5,2856.06"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/714","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I say once and I say it again, when things going 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heart.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4195.99,4200.02"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1021","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That she has been hun.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4200.02,4201.85"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1022","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Who reck the line of my father don't possess we at all.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4201.85,4206.34"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1023","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She's telling ma, he did go, he go die, he go dead.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4206.34,4211.34"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1024","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She's telling ma, he go dead, you go dog, he go die.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4214.08,4219.08"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1025","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She's telling ma, ma, ma, ma she's telling ma.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4219.91,4224.91"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1026","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ma, ma, man, she's telling ma.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4225.23,4228.09"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1027","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say man, she's telling ma, say man she's telling ma.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4229.73,4234.73"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1028","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say man say mundane, say mandingo.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4235.072,4239.023"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1029","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But Agrady say, say I, say I, not me, not man, not mother.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4242.04,4247.04"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1030","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I, say I Agrady says, say I, not E-Y-E glow.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4248.61,4253.61"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1031","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Seeing word, Blue priest, green voodoo doctor","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4254.53,4258.07"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1032","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"say I am your word you must not break it.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4258.07,4262.27"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1033","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Quick Agrady says, say stick, say dog, say six, say good.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4262.27,4266.17"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1034","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say go, say week Agrady says, say whip, say I Agrady says.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4266.17,4271.17"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1035","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say I, say I, say I, say I.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4271.811,4274.353"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1036","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But memo, memo, mud, my mother break the word.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4277.97,4282.97"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1037","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She eat it like cheese like curled milk, like yellow bread.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4286.67,4291.003"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1038","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And she tea and she teach and she teach ma","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4291.9,4295.69"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1039","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that the world rising in the yeast with red,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4295.69,4299.41"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1040","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"with cloud, with morning mist with the iron of birds.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4299.41,4304.41"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1041","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But look, Agrady says, look, lock Agrady says.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4306.03,4310.64"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1042","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Lock bar bolt, rip it and throw away the prison.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4310.64,4314.29"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1043","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say luck Agrady says, say key Agrady says.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4314.29,4318.06"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1044","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Key, kai kai, sky Agrady says and darken your division.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4318.06,4322.47"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1045","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say I Agrady says, say I, say I, say eyes Agrady says.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4322.47,4327.08"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1046","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Not cool Agrady says, say kale, not kill Agrady says.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4327.08,4331.61"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1047","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say ship, say whip, not sheep Agrady says.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4331.61,4334.71"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1048","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say kill sails, future rack plantations, greening.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4334.71,4339.03"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1049","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say scream Agrady says, I cannot dream Agrady says.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4339.03,4343.39"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1050","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say hip, say hot, say pop, say rock Agrady says.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4343.39,4346.57"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1051","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say rut, say right, say white, say wrong, say strong","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4346.57,4351.02"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1052","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Agrady says, not song.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4351.02,4352.63"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1053","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say trip, say Trump, say sit Agrady says.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4352.63,4356.17"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1054","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say pain, say blame, say can Agrady says.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4356.17,4359.62"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1055","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say name Agrady says not me, not ma, not mother.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4359.62,4364.62"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1056","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Drain Agrady says, say name Agrady says.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4364.7,4368.07"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1057","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say run Agrady says, say shame Agrady says.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4368.07,4372.0"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1058","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Say son, say flame, say Bramble I come Agrady says.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4372.0,4376.95"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1059","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The strangle you men in the ground.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4376.95,4379.363"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1060","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But ma, ma, my mother cool like she cool like she cook.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4382.78,4387.78"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1061","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And she come here to me and the groan like she looked.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4393.55,4397.482"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1062","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Like she licked me with grease, like she greeseman.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4397.482,4401.41"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1063","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She come to me years like the years of a leaf.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4401.41,4404.13"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1064","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And she is per, she come to me years and she per like","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4404.13,4408.46"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1065","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"a per since she is per.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4408.46,4410.603"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1066","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"She let's put a me that mean name what me name that me name","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4411.49,4415.07"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1067","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is me man that I miss me own and lion I mean.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4415.07,4419.633"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1068","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That me no name take you an arm them is nominate,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4421.21,4425.9"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1069","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"different and numb, so mandingo xiesper the numb.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4425.9,4430.9"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1070","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And nominate, nominate, nominate.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4435.84,4439.253"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1071","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And nominate, nominate, nominate lemme black, lemme blue.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4440.295,4445.295"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1072","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Lemme go back the door, lemme next,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4446.457,4448.597"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1073","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"lemme not lemme go back the loo.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4448.597,4451.457"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1074","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But in never know what my name.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4451.457,4453.85"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1075","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And nominate, nominate nominate and nominate,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4455.101,4459.24"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1076","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"nominate, nominate but he never named","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4459.24,4463.13"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1077","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"what my mother me name.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4463.13,4464.95"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1078","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he never knew what me name.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4464.95,4468.531"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1079","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"♪ 'Cause back to back, belly to belly I don't give a damn ♪","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4468.531,4473.531"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1080","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"♪ I done dead already ♪","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4474.749,4477.216"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1081","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"♪ Back to back, belly to belly ♪","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4477.216,4480.441"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1082","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"♪ I done dead already the ground ♪","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4480.441,4483.638"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1083","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"♪ Back to back, belly to belly ♪","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4483.638,4486.969"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1084","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"♪ I done dead already the ground ♪","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4486.969,4490.004"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1085","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thank you.\n(audience applauds)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4490.004,4495.004"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1086","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"If you say stand up then if you stand you're out.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4578.07,4581.48"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1087","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You know the game because I think all children play it.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4581.48,4584.513"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1088","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now in this poem it is no longer a game as you can imagine","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4586.47,4590.41"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1089","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"because the cultures have come--","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=4591.84,4593.477"}]},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28987/annotation/1090","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/028/987/original/AV168056_a.vtt?1622850138","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/028/987/original/AV168056_a.vtt?1622850138"}]},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28988","type":"AnnotationPage","label":{"en":["AV168056_a.txt [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784/transcript/28988/annotation/1091","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"- [Announcer] Good evening, it is my great pleasure to welcome you to hear Edward Brathwaite who comes to us from Barbados and Jamaica. And I wanna thank our sponsors who helped to bring him here and that includes the Department of Anthropology, of Foreign Languages, of History, Cross-Disciplinary Studies, the Graduate College and the Lecture Committee. And I also wanna say that after the lecture if you wish to meet Dr. Brathwaite or talk with him, there will be a reception at the Black Cultural Center. And that is, I believe 517 Welsh Avenue, is that right? Immediately after the presentation this evening. Dr. Brathwaite, I'm gonna get this very brief because I cannot possibly cover his many books and articles and so on, but he is a Historian and a Poet and he got his doctorate at the University of Sussex. He's won several Poetry prizes in London. He spent nine years in Ghana and he is presently a Professor at the University of the West Indies in Jamaica. He grew up in Barbados and some of his poetry vaguely describes Barbados and its geography and so on. And he's just come to us from Toronto and goes on tomorrow to Ohio. So I think we were very fortunate indeed to catch him and have him here. Edward, thank you.\r\n\r\n- [Edward] It's a great pleasure to be here. I think it's about a year I've been trying to get here with one thing and another. But I've made it a last that I'm really very nice to be in Ohio and at this campus, this university. Now this evening I'm going to read some of my work. I'm going to talk a little about it but not as much as you might think. I have a feeling that I really want to read more than talk but there are certain things which I ought to say which will help to give you a background to what I'm gonna try to do. The first thing is that in the Caribbean today we are concerned with the question of identity who we are. And that is artistically being expressed in the form of language and in the symbols that the language creates. Now it's an old story in a way, what is, who is, who are you, who am I and all of that. But for the people of the Caribbean it is a very real concern. It is not that we have made it up. It's not that we feel we ought to get into some kind of argument. It is that we have inherited a large number of world cultures and they have been inherited by us, guess stated by us, ingested by us in a very strange way. The first people were the Amerindians. They were the people who occupied this landscape, the landscape of the Caribbean and the landscape of the Americas for that matter. And the Europeans displace these people and in displacing them were forced to bring into the Caribbean two major sets of people, the African and the Asian. And although these people came part of the condition of their coming, the condition of slavery and colonialism was that they would forget what they carried with them. They would have to forget or pretend to forget or be made to forget the elements of their own culture. So that for many years, hundreds of years, in fact the people of the Caribbean pretended or behaved as if they were English, as if they had been the inheritors of King Alfred and his Cakes of Robin Hood and Sherwood Forest and the Kings and Queens of England from Elizabeth I to the second. But despite this apparent acceptance we retained our own culture or our own cultures. There are Amerindians living in the Caribbean as they are native Americans living here. The Africans transported and brought with them their culture in a remarkable degree. And we always behave in an African manner despite the contradiction of also accepting and performing in an English European mode and the Asian people also did the same thing. So the, in the Caribbean today we have Christianity with its Catholic and Protestant forms. We have African Shango and Commoner and Convince and Santeria and we have the issue Arctic Hindu, Muslim and the various forms of their own culture. And it is at this stage now when we have reached our independence that we are beginning to re-express these various cultures. And we are having to do this all in a multi-ethnic and multi-racial and a multi-lingual manner. We are in fact now in the enviable position, I would say, of creating something like a new language and a new form using English as a base, but playing upon that base and comfort, appointing it with all the elements of the cultures which make up the Caribbean. And I express, I represent part of that experiment. My work is concerned in two areas, one with the archeology of the Caribbean, if you would call it that. In other words, I have to learn more about what we did not know. And that is where my history comes in. We have to begin to understand things which we had taken for granted. We have to understand family forms. We have to understand our own forms of economic resource our own political thinking, our own theological ideas. That's the one hand, and on the other hand, we have to express that in a way which is representative of the Caribbean so that I'm both Historian and Poet. Very fortunately I need to be a historian in order to do the kind of work that I do in the creative arts that's the real point so there's no real contradiction. And I think that's enough as a start. Now the technical aspects of the poetry will in some measure be revealed if I read well enough, if you listen carefully enough, if you don't fall asleep, if things go well. I'm not going to give an analysis of the forms of the poetry this evening because I think they're really merged in some way if I read the right kind of poems. So what I'm going to do, I'm going to start with the pairs of poems really. What I'm doing I'm making slight contrast to show you one aspect of the subject, and then often a slightly different aspect of the same thing. And I'm starting with the image of growing up in Barbados to give you an idea of what it was like to be a little boy faced with these contradictions that I spoke about these historical and cultural contradictions but not really being fully aware of them. And the little boy in this point is diving for coins and the point's called dives or dives whichever you prefer. So the contradiction is present already. If you want to make it Biblical, it becomes divis. If it is Beijing, it will be dives. And in each case, the goal is gold. That is the point of the poem. The nature of the gold and its objective is problematical but like divis, we the divers were searching for some kind of wealth. Our wealth was as you will see in the poem, very very marginal it was not really the kind of wealth that we could build the Island with. But as boys, we enjoy the athleticism of diving for coins. And this is the poem. Before they built the deep water Harbor sinking in an Island to do it, we used to roll out in our boats to the white liners great ocean going floats the dive for coins. Women with bracelets, men with expensive tickers on their wrists, watched us through bland sunglasses sold that their blue stairs never blinked. They tossed us pennies, the spinning flat metallic bird would hit the water with a little flap and wings zigzagging down the waters truck. Or underwater eyes would watch it like a cat. Does it dark bottoms some words like a pendulum whinging from site to site, no black, no bright, no black no bright catching the dying daylight down the cold dark tides of the ship. Every shuttle we saw was a possible shark but we followed that flat dark light. Even if the propellers would suddenly turn burning the water to murderous cold, we would never come nearer to gold. I heard certain reactions there from the audience. I think you share in some way that kind of experience. There the tourists as you know, come to our islands and they perform this action of asking or encouraging the little boys to dive for these coins. It is a sign of the relationship between one part of the world and another. Although, as I said, in this point, we were not really aware of what that relationship was expressing. But it leads to other kinds of relationship and other kinds of reaction to it. And the next two points express other forms of that relationship. When the little boy has no grown up or has been stunted in his growth and this is the result. Through corneas of glass, I see my people black. I see them homeless still in shiftless slack and hungry white lip terrain, mouth beggar at the corners. Bugged, drugged, crying out to the enemy for bread. They cannot worship they're dead. Their ancestors have century steps when they miss-beg. Hand-cupped, backs to the cold wind for shelter, stick, roll, roof, stockade of roots. When they must eat those books you offer them pink Proverbs, Blue eyed revelations I see my sisters are reefers, Angela's. How they have burnt their hair so near to God. How they embalm their bread of breasts. How they forget the spinks, accept your Gentile venus. I see my brothers high I'm nodding shadow boxing to the tune of needles, angels of the fix. Bartering the sanity for trips around the skeleton. I heard them screaming revolution as the world revolves rung Marcus, Malcolm, Mississippi, Memphis but they're in no vein of revolution. Only the Blues and Coltrane's gospel pain. Propped against the crowded bar. He pours into the curve then silver horn. His old and happy longing for a home. The dancers twist and turn he leans and wishes he could burn his memories to ashes like some old notorious emperor of Rome, but no stars blazed across the sky when he was born no wise men found his hovel. This crowded bar where dancers twist and turn holds all the fame and recognition he will ever earn on earth or heaven. He leans against the bar and pours his old and happy longing in the Saxophone. So that's the, that is the picture, that is the scenario. The little boys who dive for coins have come to that fix, have come to that fixed situation. And it is the responsibility now of these people to try to do something about it. They've got to change the world in one sense, they have to create a revolution. But they've also about to change their own man scape, they've also got to try to change their own sense of the world. And this is what these points will be trying to do this evening. We have to begin as I often have to begin being a traveler, being a person who has had to travel many places, find many kinds of home. We have to begin really with a sense of home. And I myself coming from the kind of situation which I've described, I did not really begin to get a sense of home until I lived in Ghana for those nine years. It is only towards the end of my time, away from home living in a culture, which in a sense is my ancestral culture that I began to get an idea of what home really meant. What community means, what it means to have a sense of linkage, what it means to have a sense of spirits. What it means to have a sense of living in a continuum where past and present and future are fused. That came to me after my experience in Ghana. And therefore it was possible for me after that to begin to write poems about home, about Barbados, about the Caribbean, because it's funny although I lived there, I was born there, I did not know how to write about it. It was easier to write about something else. It was only after a long time, after a long journey after a great effort, that one was able to recognize that there was a home where it should be. And I was able to write a suite of poems called Ancestors which deal with my grandfather, my grandmother my grand uncle and all the relatives all those people who formed the extended family in my own home. And it's interesting that a lot of things happened. Having discovered that home one was that it is in the shop where my grandfather's brother my great grand uncle did his work. And I celebrate in a poem called Okun in which I see for the first time his connection with Africa. It is many years after that, many years after that, in that same shop now broken and shuttered, he dead, no longer used, but occupied by a group of people who I should bring to your attention towards the end of the reading that I, one evening listening to them in their church, in their chapel, in their religious exaltation realized for the first time that the language that they were speaking although it was Barbadian English. It was also evil that in fact I was beginning to understand the reason why Barbados did not appear to have a culture. It wasn't really that we didn't have a culture or even that I was not perceptive enough to recognize that culture. But that the nature of the Barbadian culture was of a peculiar nature, it was not a dramatic culture like the Europa or the Doggone or the Holmium. It was this quiet a selfless culture of the evil where things are submerged and where one has to understand certain conventions before the secret as it can be seen as it was revealed. But Ancestors poems in honor of my grandparents, my Barbadian ancestors. This is where we begin with my grandfather and his contradiction. And then the contradiction is replied to by his wife who has a much greater sense of the culture. Every Friday morning, my grandfather left his farm of cane fields, chickens, cows and rattled in his truck down to the Harbor town to sell his meat. He was a butcher six foot three and very neat high collar wing the great cravat. A waist skirt, watch's chain just above the belt. Thin narrow bottoms, trousers and the shoes his wife would polish every night. He drove the trap himself, slap of the leather rains along the horses back and he'd be off with a top hearted Humberg on his head, black, English, country, gentlemen. Now he's dead, the meat shop burned, his property divided. Adopter bought the horse, his mud Alsatians killed it. The wooden trap was chipped and shopped by friends and neighbors and used the stop gap fences and for firewood. One yellow wheel was rolled across the former calpain gate. Only his hat is left and I borrowed it. I used to try it on and hear the night wind man go buttering through the canes. Cocks waking up and thinking it was dawn throughout the clinking country night. Great Caterpillar tractors cluttered down the broken highway now. A diesel engine grunts where pigs once hunted garbage a thin asmatic cow shares the untrashed garage. All of that I can remember of his wife. My father's mother is that she sang us songs. Great Tom is cast was one that frightened me. And she would go chop chugging with a jar of milk until its white pap turned to yellow butter. And then a basket underneath the stairs, she kept the polish for grandfather's shoes. All that I have of her is voices laughing me out of fear because a craple jumped and splash the dark where I was huddled in the galvanized tin bath telling us stories, wronged her fat white lamp. It was her queen Victoria lamp she said, although the stamp red ever ready. And in the night I listened to her singing in a Vicks and vapor-up like voice what you would call the Blues. ♪ Come and look, come and look see what happened mm ♪ ♪ Come and look, come and look see what happened ♪ ♪ Suki day, Suki day, Suki day oh ♪ ♪ Suki day, Suki day, Suki day oh ♪ And then there is the little contradiction to that. That is a nice feeling of family, that is a feeling of home but still the little boy who died as he grows up, doesn't always recognize that homeland. Doesn't always recognize and appreciate that sense of community. And here in another Island, in the Island of Saint Lucia, in fact, a relative comes to meet him. A relative comes to visit him and there is a sense of distance between them at that moment. Things still have not yet quite returned to the full circle as there is a toss night between us. High seas and then in the morning sails slack, rope flapping the rigging your schooner came in. On the deck, buttressed with mango boxes, chicken coops, crocus bag races I saw him. Older than I would wish you more tattered than my pride could stand. You saw me moving reluctant to the key side. Stiff as you knew me too full pride, but you had traveled brave the big wave and the bilge swishing stomach climbed the tall seas to come to me. Ship was too early or was I too late walking still slowly too late or too early. So you suddenly turn ropes quickly cast off the capstan. Frill sales were unfurled water already between your hawl and the Harbor too late, too late or too early. Running now one last rope stretched to the dock side, tripping over a chain chink in my armor. But the white bowels were turning stern coming rung squat in the water. And I older now more torn and tattered than my pride could stand, stretch out my love to you across the water but cannot reach your hand. Well that contradiction, that experience which is really common to us all but which for us has a deeper meaning. It is part of that difference of perception between the imitation of the culture and the authenticity of the culture. That kind of experience has its historical base. And now for the second movement of the reading, I'd like to read you two ideas from our historical perception. The first is a Haitian understanding of it in a way. The poem is called Citadel and it is inspired by a mural at Port-au-Prince done by the Haitian muralist Alexandra Waal. Now this was on my first visit to Haiti the Black Republic. A place, which again we have never related with as we ought to have be people of the Caribbean. Haiti has become maroon from the consciousness of the Caribbean much to our own disaster. Because Haiti of all the slave plantations in the new world, Haiti is the only one that successfully revolted against the master, against Prospero, against the overlord, against the oppressor. And the manner in which the Haitians were able to overcome this remarkable form of oppression, it's still something that we don't really understand. How is it that a set of people who were unorganized who had apparently no leadership, who according to the records had no culture, no resources were able to suddenly apparently like a volcano overnight to defeat Napoleon Bonaparte to defeat the greatest power in Europe at the time? And not only to defeat Napoleon but to create alternative structures to what Napoleon had posited as the good life. That is something that we don't really understand. And so when I went to Haiti, I didn't understand either the neuro by Alexandra Waal which depicted for the first time for me a sense of history, which was cyclical. What Waal was saying is on his mural was that the first people who lived here were the Amerindians and out of the Amerindians come with the Spaniards. And out of the Spaniards come the French, and out of the French come the Africans. And out of the Africans comes modern history. I found that remarkable because I would assume that he would want to divide these people. That he would want to perhaps put the emphasis on the victorious Haitian perhaps. But I did not realize then that because of the victory of Haiti, because the consciousness of the Haitian had already been able to transfigure that original experience that he was able to recognize that each of those movements was only a small part of the total history of that ancient country. And that was the first time that I began to get a sense too that history could bring us together not only divide us. And the poem Citadel is a point in celebration of the great Citadel that Christophe, only Christophe built in the North of Haiti. But he uses that symbol of Christophe's achievement to, as a Memorial for the achievement of all the people who made up that nation of Haiti. And in fact, what he does is to say that the Arawaks use that same Citadel as their headquarters long before the Europeans came to the Island. At the pit coupler cap where the Citadel sits, the Arawaks wait. The flesh of their head dress our bells up the mourn time, the rings of the Palm trees are bells up the mourn time to sign does azimi. He stares from the flesh of the stone. The white of the helmet, Columbus concussed the door. The white of the sword becomes lightning. The steal of the cutlass, the knife of the God phones of the whips drink water like trees. Africans from the slave ships dance out of the Rifleman's loins become Dessaline. Dessaline like crate up yarrow the spangle of debts from the heart of the trees. And Christophe Columbus climbs up to his mountain top with the face of his horse in the faith of his shadow. He stumbled some priest on an ivory slave on a Spaniard. The places of pain become pig snouts. The black becomes white, becomes black, becomes rain falling to plunder the roof of the world to sound is a Zen. He stares from the stone, from the eyelids of flame at his fate. And then the other view of history, the Barbadian view in a sense, the view that I went to Haiti with. The view of the slave master on one side and the slave eroding if possible, the prestige of that individual, that person, that representative and this poem is called Conqueror. The images are taken on the one hand from English Shiers from the world of the slave master. And he, in a sense is looking back to his Homeland. He is looking back to his Homeland. He's wishing that he did not have to be an agent in the Caribbean. He's remembering his pubs and his reign and his women. And he's planning to send his children back home before they become Caribbean. And under it all is that persistent drum, which he fears which he does not understand. The drum which represents the alternative culture. The drum which is like a rat eating away at his composure. From quiet shires of church bells, falling leaves to this solved turbulence sand under my feet, pebbles, powdery hills halting my innocence. From the wooden bridge pub on the corner, it's signs, swinging billows in winter. To this empty house, these windmills turning, turning this midnight drama. There was a King and his court arch Bishop's church. And I had nothing to do with them. I obeyed the laws, poured myself, head of Ireland the evening fished in all the weathers, hauled my revenge of pale women. It's signs swinging, swinging willows in winter. Here there is this empty house. These windmills turning, turning this midnight drama. Like a rat, like a rat, like a rat tap tapping. Like a rat, like a rat, like a rat tap tapping. We ice, we tit, we eating. Like a rat, like a rat, like a rat tap tapping. Like a rat, like a rat, like a rat tap tapping. ♪ And we burn in Babylon ♪ ♪ Haileselassie hallelujah, haileselassie hallelujah ♪ It was a victory for the chapels blowing their Bibles. Black preachers speaking with the voices of concs as two son did in Haiti, as Christophe died in Haiti. Speaking from the tongues of whips, toenails. Speaking from the lips of limping angels lower as the gods do in Haiti and liberated Haiti. It was a victory for prayers touch, leaning, hallelujah. Press pants, barefoot respectability, drought, no law, no land the pastors almost routed. You ask for bread and they hand you a stone. No loaf, no love, no miracle. You ask for a roof ceremony of the monk to dead on your spiked head roats by the roadside. Drought, no law, no land the pastors almost routed. And then those eyes that could speak so sweetly burns so softly. Farms by the seaside, green growing on green, green, glowing and grants the Blue. For now, I would obliterate you from the obscurity of yourselves uncertain silver. From the faint hearts of your mindless architects. From the starless dumbness of your leaking corners. I would obliterate you from yourself cement of fist, of rise of rocket from the hatred of your color, from the inhabited dongles of no hope. I would take you into the home of the brick the flat foot of the mortar, the spinning industrial space of the spider, the home fours of favela vision. I would ask you to walk the four corners of your understanding rum, cocks blood, spirit, liberation. Humbly to step from slave to certain owner. Humbly to acknowledge mother, father, brother, sister. Humbly to break forth song some handclap petal from the Dungeons of unrighteousness, into light, into stone into path way, into leaf of hope and the rope, whip tomb, boulder that has bummed you. Now talisman, now twisted into prayer, now shredded into timeless tears, like a rat, like a rat, like a rat tap tapping. Like a rat, like a rat, like a rat tap tapping. And we burning, burning, burning, burning, burning. Now the consequences of that history, the consequences of it, the consequences both of the sense of reconciliation and the sense of opposition. The first consequences that in fact the sense of reconciliation remains a metaphor that as we proceed into the real world, the reconciliation does not in fact take place. There is always another crisis, there's always another economic spiral, there's always another riot somewhere or an invasion somewhere or a cue or a collapse which upsets the whole sense of cosmos. Which upsets that effort, that one mate to see things in some sense of equilibrium. In other words, we begin to recognize that it is a long journey and a tremendous effort that has to be made. That reconciliation is a word, which is very easy. The sense of compassion is something which we can use an English literature, it is a very fine notion. But that the everyday bucking up of person to person, of culture to culture, of group to group still has its contradictions and still creates a free song which although creative is also very cruel. We have this in Barbados, we dramatized it every year. In fact, it was also dramatized on American Television a few nights ago, Cricket of all the things, the game of the Caribbean, the origin of Baseball perhaps. We don't know quite, it is an English game, played by 11 people on each side, two in the middle who backed and 11 who surround them and tried to get them out. And you Americans always say with a sense of wonder and it takes five days to do it. But it's part of the culture, the allegedly culture of that man who thought of his pub and who remembered the windmills and the the signs on the pubs creaking. It's allegedly word, but we have introduced into it, our own sense of drama, our own sense of language and our own sense of meaning. For us Cricket is not just the game between two people. Two sets of people Cricket often as a test match is a confrontation between England the oppressor, the slave master and our own people. It is this occasion when we can dramatize the ability of Kaliban to defeat Prospero or at least try or hope that Kaliban would succeed in defeating Prospero. If we were not able to do it in history, we will be able to do it on the Cricket field. And so this point illustrates in a way this sense of drama, the sense of conflict, which we have between two. And because it is a traumatic point for the first time this in here, you hear the language of the islands which is English, but English converted, subverted whatever you want to call it by the other cultures. This poem begins in a tailor shop. Tailors, barbers, hairdressers are all whom guns. They are the people who are the centers of our community. People who gather in a tailor shop not encourage the tailor to do his work, but to listen to the Taylor's sense of history. To listen to the Taylor's sense of politics, to listen to the Taylor's normal, his power of the word same thing with the Barber, same thing with the hairdresser. This is to a large degree now being some subverted by the same system and the disco where you can't really listen to the word as you used to, but you still listen to something which is underneath the word. And that is the rhythm and the beat because basically the word itself is an aspect of rhythm. And here, the tailor is talking not about his work although from time to time, he remembers his work but about a Cricket match that he was a captain of. He was in charge of on the beach because our Cricket begins in Barbados on the beach, not on the hallowed fields of Eton and Oxford, or Ken's into novel that comes later. But we begin on the beach using a soft ball and a coconut branch and two, three sticks. We learn our craft there. And the tailor had his team, which was doing its own thing. But as he thought it, his team, he slowly began to think of the more serious business of the West Indian team, of the Barbadian team and it's confrontation with Prospero, the English team. So he moves from one to the other. Many a time I have seen him save the site. The tailor was saying as a certain soda in his shop. You remember that Tony with Brandon? What he named now that big able water policeman the one in charge of the Harbor patrol. You mean hope along kas Mm, is because a cow giving mother a kick before he did bond that he foot come out, so yes I know. But that is not what I talking about. All hoppy was bowling that day as if he was hurricane father. Lambert went in, playing in noir all about it as usual and swish there he go funding outside the off stump on his click, he snipped the ball straight into this slips. Well, boys, it looks like we lost in this much says the skipper writing not in the exercise book he was keeping the scoring. You think we could chance it and send Goldstone in before Charlie our spooks? So Goldstone went in. You could see he face whitening under he turn and you know that, that psycho boy frightened. But tapping feet, walk in boat, like they're talking with ants hard was to stop myself, asking myself if he ever played Cricket on Bronx which before and I told him, I told him over and over again. Watch the ball man, watch the ball like hooked to your eye when you're first goes in here don't know the pitch. I don't mean to poke but you just got to watch what you're doing. This isn't the time for playing the fool and making no sport this is Cricket. But Goldstone too deaf. Mother don't clean out the wax in here. First ball from Carson efficient, second ball in the missing swishing the bat like you wishing to catch but fly though the old Goldstone could ever catch by this beach was a call. But it's always the trouble with we. We too afraid and too frightened. It's all very relevant at Rosie and sweet but Lambert the start and burger long gone you can't find a man to hold up decide. Look what happened last week at the Oval. At the Oval? What happened last week at the Oval? You mean to say that you come in here with that lime skins corn you're calling a hat on your head and you slip shop shoe strap on your foot like a tourist. You're sprawl your ass all of them, a chair without asking me please leave no license. Wasting my time, man you know, very well I can't find enough to finish these suits before Christmas. And on top of all of this you can wind up the nerve to stop me cool, cool, cool in the middle of all money, learn, trade. Make prick my hand in my face and tell me broad and bold to my face that you don't know what happened at Kensington turnover? We was only playing the MCC man. MCC who come all the way out from England. We was batting you see score wasn't too bad. 197 for three. The openers out tie were out, every 10 weeks just glide two for 50 and Jack is the giant account. Felony and warden was balling toss in a taps sweet, sweet, slow medium syrup. First ball, no back down the way to Wharton. Second ball, no back down the way to Wharton. Third ball coming up and we know what going to happen to syrup, Clyde back belly, back foot, and pracs is two extra cover and four red runs all the way. You see that shot, the fellas were shouting? Jesus Christ, man wanna see that shot. All over the ground fellow shaking hands with each other as if it was they wheeling the willow as if it was them had the power one man ran out in the field with a red full cop going quote, quote, Cockney hand. And when to give it to Clyde right then and right there, if a police didn't stop him. And in front of where he was sitting, one ball headed skeptics, snatch hat off he had as if he did crazy and pointing the finger at Wharton he jumped up and down like a sun chatter, DeSean, BOLO blind big boy blamed me he blood. Who would have think that for 25 years he was standing up there in them post office cages looking glory and the government stamps. If it wasn't there to see for myself I would have never believe it, I would never believe it. But I say once and I say it again, when things going good, you can't touch me but Lambert the start an old man can count find a man to hold up the site. And then the dread situation where it is no longer a question of laughter, but a different kind of dramatization. The ghettos, the dongles of Kingston, Jamaica where the culture of poverty become so acute. The pressures of living become so dread that the reggae, the scar, the rock steady those songs which you appreciate, those songs which you relate to are not simply songs that you can sing. But also the songs that express the oppression. Are symbols in fact, kinds of bombs being thrown from one part of the society into another. And the song system is a kind of explosive device. And this point, Starvation is a poem which is the meditation of one of the dread suffers as he waits by the bus stop. And he wonders about the things I've spoken about. Why is it that history has apparently passed him by? Why is it that history has these strange contradictions? Why is it that poverty remains the prerogative it would seem of a certain group of people? This is no white man line. And yet we have ghetto here. We have place where a man can live good. We have place where man have to sweat shit. We have place where man die with I water dry up. Where he can even cry tribulation, where the dry rubber rocks clogging in. I did swim into this world from when I was a small boy and I never see Harbor yet. Ship can spot no pilot light. A burning through this wall of silence with Madrid. Look how I look and little fun. Her son system, running a grown with a done German Blues. Some in denier bingo, but none of them come. They're call you see me here. The good year tire, them tech flight at dust the nasty water from the pothole, from the Asphalt. And land on top they suffered them standing by on the sidewalk. Inside the wayside cabin the McCalla bus stop advertising Sheraton hotel. You see this route of bottle spring blade rising from the sharks. You see this tile vexation pan the face that never favored tack that wants to strangle priest and politician. That want to have the brothers in black space. The doctors in them dream of a senior the white blood Trenton and him cage, a barbecon, a red hills, a skyline drive, a Babylon, this rage accrue them walking on the coffin with wheels, stopping at the station. Police station, hot skin for Sergeant Brown. When the little picnic them drunk in a drag golly and the hungry belly making one with Miss Kal. With my white caucus debt with my fuse baka helped. With my licking drum like a them pass, but eros, buck's Taxi, Cab, Limousine. I waiting here one day, the grass going green, the tire them going shred to, to the rim. The Sheraton hotel going flash out all it light. It money-making room going to resurrect themselves back down to gravel and Babylon grind here and crushed them to the ground. With I and I still here, with and I still standing here with these Blues, with these Bogle Blues, with these broken backle Blues. And then a Blues I woke up this morning, sun shining shining through my door. I woke up this morning, sun shining showing through my door. 'Cause the Blues is got me and I got strength to go no more. I woke up this morning clothes still scattered across the floor. I woke up this morning clothes still scattered across the floor. Last night, the ride was lovely but she ain't coming back for more. Sea Island, sunshine, where are you hiding now? Sea Island sunshine where are you hiding now? Could have swear, I left you in the cupboard but it's only empties mocking at me in there now. Empty bottle's knocking laugh like a woman satisfying. Empty bottles knocking laugh like a woman satisfied. She fallen left me empty laughing when I should have cried. This place is empty bottles, this place is a woman satisfied. This place is empty bottles this place is a woman satisfied. She drink my sugar water, tell him a sunshine die. I woke up this morning sun shining showing underneath my door. I woke up this morning, sun shining showing underneath my door. She gone and left me empty and I should've died. And then we have the more aggressive picture coming out of this situation. You can have the Blues, you can have the meditation of the dread, but you could also have the Rastafarian himself brother man, the man who has made a decision to create a culture for himself. Who is no longer prepared to wait, who is no longer prepared to perform through the politics of reconciliation who is prepared to make a new world for himself and using the symbols of the culture of poverty to do that. Now at this point has an interest in history in that it came at a time when we in the Caribbean were debating whether it was possible to use what I call nation language. In other words, it was when the debate was on whether dialect as it's called normally could be used as a vehicle for poetry. Believe it or not, that was a serious matter for discussion. And it was that one of these convocations one of these colloquium, colloquium, colloquium that this point was first rate. And in a sense, the reading of it settled the argument about whether we could use our nation language because it was all very well for the argument that dialect does not carry meaning. Dialect does not have the power of the English language and all that but it was only when the dialect was actually demonstrated that I think the argument came to an end. And the point that I read that day was this wings of a doubt about the Raster man. The features of the poem are not only the images of Rastafari but they use certain use of drum rhythms which are an essential aspect of that culture. Brother man, the Rasta man baird full of lichen, brain full of lice. Watch the mice come up through the floorboards of his downtown shantytown kitchen and smile. Bless it at the pouring healthy he mumbled. That they should inherit this wealth. Blessed are the meek hearted he grumbled for theirs is this stealth. Brother man, the Rasta man here full of liking head hot as ice, watch the mice walk into his poor hole reached for his piece and the pipe of his ganja and smiled how the mice eyes hot human species glowed into his room like Ruby, like Rhinestone and suddenly startling like diamond. And I Rastafari in Babylon's Boomtown crazed by the moon and the peace of this chalice. I profited singer, scourge of the gutter guardian trenchtown the dung Gulen Young's town rise and walk through the now silent streets of affliction. Hope size heart with fare, with affection and hear my people cry. My people shout dumb, dumb white man, con man, brung man dung, dung full man fronting fat man that white black man that lives in the town rise, rise lox man. Solomon wise man rise, rise, rise, levy, laugh them mock them, stop them, kill them and go back back to the black man line back back the Africa. Them don't mean it you know. Them can't help it, but then clean face rungs in Babylon town is who I am most fair and who fairs most? I watch the vulture demo flying here the Crow them Crow. See what the money or buy call, call, call, call. All crew, all crew, all crew, crew all crew. That's all them got to show, crew flight flip, flop on the ground now feet feel from the firm stones. Now the picnic born from the flesh of them bones. No, no, no, no, so beat them, drums them, spread them, wings them, watch them, fly them, soar them, hide them. Clear in the glory of the Lord. Watch them, ship them, come the town them, full of sip them, full of food then, and then playing them. Come to ground them, full of flush them, full of cash them. Sip them, food them, shoot them, wine them, that them, drink them and consume them praise in the glory of the Lord. So beat them, burn them, learn them, gut them but then nothing but them bright, bright bobbles that will burst them when they flame them from unhide them, raise unroll them and deport them rise and rage them, in the glory of the Lord. And now a few points about the resolution to that conflict. As I said, not really a resolution because as I quoted here from Jimmy Baldwin, the whole idea of resolution is not something that comes very easily. And those of you who remember tell me how long the trains been gone there was a passage there, which means so much to me because of what we are trying to do. He says, it was as though after indescribable nearly mortal conflict after grim years of fasting and prayer, after the loss of all he had and after having been promised by the almighty that he had been paid, that he had paid the price and no more would be demanded of his soul which would have, which was harbored now. It was as though in the midst of his joyful feasting and dancing chromed and wrote a messenger arrived to tell him that a great error had been made and that it was all to be done again. That is I think the situation that one is very conscious of as we in the Caribbean, having moved from a sense of colonial dependency to political independence have no found ourselves once more in a strange period of economic and all kinds of new dependencies. The culture of poverty, which I spoke about which has its creative moment is also something that appears to be slowly strangling the society. The society itself in its effort to express itself in its own way to create a sense of worth has also found itself practically bankrupt. So that many of us are now in debt to the IMF and in debt to various other international bankers. And the violence which at first was expressed mainly as reggae, mainly as song system is now becoming endemic. And it begins to look as if we are going to be at civil war with our own brothers. In other words, the culture of poverty has not only started to create its own worldview and its own cosmos but it's actively challenging those who are of its own flesh and blood. And a strange implosion seems to be about to take place. But as I say, these are the penalties. These are the, these are what one earns from trying to be one self. And I think that we have to go through that particular kind of middle passage also before we come out to the other end so that it is not as easy as it at first scened. But one has great faith, one has faith, not only that the language will provide a symbol for the experience. But one also has faith that a culture which has survived for so long, under remarkably oppressive circumstances a culture which has been submerged for so long will eventually continue to emerge in a way which will make sense, not only of ourselves and to ourselves, but make sense to ourselves in relation to the other people in the world. And so these last points, which represent a kind of resolution within myself, although, as I said the contradictions remain on a whole new series of work have to take place. But first a quiet poem called Sun Song which celebrates the drought, the drought which visits the Caribbean every year coming from the Hamatan. Coming from the shores of West Africa, coming from the Sahara once more linking our past with our present. That drought is or most beautiful time of year when it's dry, when the flowers flare out from the otherwise empty branches it is a spring and autumn. I suppose is the only way that I could describe it in your own terms. It is the time when our spirits, our spirits, the spirits of ourselves walk abroad and when the spirits of the land meet us under those trees. And this poem is a poem about that. The drought has dried my tropic, my mellow sun my fat banana green, termites rings visit me. Spindles of tampering leaves falling through yellow light. On a different ball game that we begin to move somewhere forward. And the person in this poem who suggests the alternative who suggests a different kind of game, a different kind of scene, a different kind of relating, is the same old lady who cleaned my grandfather shoes at the very beginning of the reading. It is that culture, that aspect of the culture which now begins to return to a central position. And the technical aspect of this poem is that Agrady representing the ego, representing Europe representing what I call the Misael speaks with an I sound. His key word is I that's the song that he makes. And he really wants the other person, the person who is resisting it to use I rather than me. To use I that vowel rather than the deeper song the m, m, ma, me those sounds. So it's, the poem is really based on a counterpoint between the sound of the m sound or the normal, the mother and the I, the high sound of the whip of the slave master. That is what, that is how, that is the kind of development that is involved here. And at one point in the poem for the first time in my own experience of writing poetry, I actually started to glimpse the possibilities of a new language. In other words, a language which in fact, the twilight zone between English and our own nation language. And then it comes in a passage there when the oppressed, the Kaliban, I better call him is at his he is almost at the end of his resistance when he calls upon these final resources of his normal, of his mother. The poem of course goes back earlier than what I'm going to read. It's all about how Prospero worships in church to charge himself with a kind of electricity for this debate, for this confrontation. And the people who watch him reckon that he must be buying Archangel swords in a burning Bush like when Adam get pitch out to even. But then there are also ready to confront Prospero. And so the game, the debate, the reality begins and it begins with the song that aims the mother. But ma, ma, ma, my mother mud, black, fat, soft, fat manual, cocooe, cooking pot herb, wallaby wood, evening times, smoke, sleep, sleep rest. Ma, ma, my mother, mud don't like what she see. She don't like it, she don't like he ata. She don't like tea, she is wa, wa, what she's watching. She spit right into he odds I that she drove it. She fought on the ground and she's spiked in, and spiked in. She spiking and then spitting. She curses upon him with the shark is to the ship town. The man who possesses us all who break the heart. That she has been hun. Who reck the line of my father don't possess we at all. She's telling ma, he did go, he go die, he go dead. She's telling ma, he go dead, you go dog, he go die. She's telling ma, ma, ma, ma she's telling ma. Ma, ma, man, she's telling ma. Say man, she's telling ma, say man she's telling ma. Say man say mundane, say mandingo. But Agrady say, say I, say I, not me, not man, not mother. I, say I Agrady says, say I, not E-Y-E glow. Seeing word, Blue priest, green voodoo doctor say I am your word you must not break it. Quick Agrady says, say stick, say dog, say six, say good. Say go, say week Agrady says, say whip, say I Agrady says. Say I, say I, say I, say I. But memo, memo, mud, my mother break the word. She eat it like cheese like curled milk, like yellow bread. And she tea and she teach and she teach ma that the world rising in the yeast with red, with cloud, with morning mist with the iron of birds. But look, Agrady says, look, lock Agrady says. Lock bar bolt, rip it and throw away the prison. Say luck Agrady says, say key Agrady says. Key, kai kai, sky Agrady says and darken your division. Say I Agrady says, say I, say I, say eyes Agrady says. Not cool Agrady says, say kale, not kill Agrady says. Say ship, say whip, not sheep Agrady says. Say kill sails, future rack plantations, greening. Say scream Agrady says, I cannot dream Agrady says. Say hip, say hot, say pop, say rock Agrady says. Say rut, say right, say white, say wrong, say strong Agrady says, not song. Say trip, say Trump, say sit Agrady says. Say pain, say blame, say can Agrady says. Say name Agrady says not me, not ma, not mother. Drain Agrady says, say name Agrady says. Say run Agrady says, say shame Agrady says. Say son, say flame, say Bramble I come Agrady says. The strangle you men in the ground. But ma, ma, my mother cool like she cool like she cook. And she come here to me and the groan like she looked. Like she licked me with grease, like she greeseman. She come to me years like the years of a leaf. And she is per, she come to me years and she per like a per since she is per. She let's put a me that mean name what me name that me name is me man that I miss me own and lion I mean. That me no name take you an arm them is nominate, different and numb, so mandingo xiesper the numb. And nominate, nominate, nominate. And nominate, nominate, nominate lemme black, lemme blue. Lemme go back the door, lemme next, lemme not lemme go back the loo. But in never know what my name. And nominate, nominate nominate and nominate, nominate, nominate but he never named what my mother me name. And he never knew what me name. ♪ 'Cause back to back, belly to belly I don't give a damn ♪ ♪ I done dead already ♪ ♪ Back to back, belly to belly ♪ ♪ I done dead already the ground ♪ ♪ Back to back, belly to belly ♪ ♪ I done dead already the ground ♪ Thank you. If you say stand up then if you stand you're out. You know the game because I think all children play it. Now in this poem it is no longer a game as you can imagine because the cultures have come--","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43689/file/116784#t=0.0,4598.568"}]}]}]}