Questlove on Baraka

Further notes on PoemTalk episode 128

Al Filreis

In 2018, PoemTalk's 128th episode was made — a conversation in which Tyrone Williams, Aldon Nielsen, and William J. Harris joined me in the Arts Cafe of the Kelly Writers House to talk before a live audience about Amiri Baraka’s poem “Something in the Way of Things (In Town).” Go HERE for a program note and links to the edited audio recording of the episode and also an unedited video recording. Recently we found a relevant piece published in the New York Times four years earlier. It was written by Questlove, and it refers to the studio session in which The Roots collaborated with Baraka to record "Something in the Way of Things." Here are several paragraphs:

The Roots recorded with Mr. Baraka once. It was for our “Phrenology” album, in 2002, which was titled for the absurd, discredited science of taking a measure of a man’s character by feeling his head. The album was also about racial profiling, social Darwinism, and hip-hop itself: If you’re a hip-hop head, what can you expect from the world, and what can the world expect from you?

We were at Electric Lady Studios in Greenwich Village, and Mr. Baraka came in to add his vocals, which consisted of reading a poem he had written, “Something in the Way of Things (In Town).” I listened to the track again Friday, after he died, and I hear so many things hiding in the corners of the poem and his performance of it. There are traces of early poetry mentors like Charles Olson, there’s a little William S. Burroughs, there’s a reminder of how he opened the door for poetry to speech to recording long before the Last Poets or Gil Scott-Heron. There’s a devotion to making language mean something, even if — especially if — that something isn’t safe and preapproved.

Many thanks to William J. Harris for locating the Times article.

April 7, 2023

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DIGITAL PEDAGOGY: This was a magazine story published in 2001 about my use of e-media in teaching. “Postmodern poets focused on the process of their poetry, rather than on what the words in their poems actually said. The purpose was to make poetry and language new again. There's no better way to describe Filreis's teaching style. He uses technology to free class time for discussion, which to Filreis is more important than the course material itself. The point is to develop his students' ability to think critically, not to have memorized every last fact about Gertrude Stein. And yet, he said, through that active engagement with the material, students end up remembering more of the content.”

Click on the image.

ASHBERY PERFORMS STEVENS: In October of 1989, John Ashbery went to St. John's the Divine Cathedral in New York to be part of the induction of Wallace Stevens at the Poets' Corner. There was a vespers service and Ashbery read six sections of Stevens's "An Ordinary Evening in New Haven." Imagine that--that poem read at a vespers service! Anyway, I certainly don't know of another recording of Ashbery performing Stevens. Stevens was a fairly bad reader of his own poems. Ashbery is deemed by many to be an indifferent reader of his poems. (I don't agree, but understand the point.) But here, reading Stevens, Ashbery is marvelous. Here is a 7-minute recording of sections 3, 5, 12, 17, 18 and 30 of the Stevens poem that comes closest to real serial writing (seriality at the level of the section, anyway).

THE (ANTI)MODERN PRESIDENT. After looking at an abstract mural at the U.N. then President-elect Eisenhower said, “To be modern you don't have to be nuts.”

THE END OF THE LECTURE & PLANNING TO STAY. As often as I can, I call for the end of the lecture as we know it. I'm pretty serious about this - not often exaggerating on the point. Click here for one of many forays into the topic. Once you're there, click on the "end of the lecture" tag for still more. My thoughts on institutional politics and the arts were presented in a manifesto called "Planning to Stay" (published as a pamphlet by No Press); the text of that talk is available here.

KELLY WRITERS HOUSEPhiladelphia's PBS affiliate, WHYY-12, produces a TV show that in each episode features four centers for the arts and creativity in the Philadelphia region. For its winter 2010-11 program, the show devoted 15 minutes to the Kelly Writers House in a segment called “The Creative Campus.” To watch the video, click on the image above.

REPRESENTATIONS OF THE HOLOCAUSTI dislike Spielberg’s Schindler’s List intensely. It's a film, I think, that is very friendly toward sovereignty. For more on this minority view, click on the image above. I teach a course at Penn on representations of the Holocaust in literature and film every other fall semester.

In 2003 I founded and continue to direct the Center for Programs in Contemporary Writing at the University of Pennsylvania. CPCW brought together the university's writing programs and projects: Critical Writing, Creative Writing, the Kelly Writers House, PennSound, RealArts@PENN, Writers Without Borders, Creative Ventures, Jacket2, and more. For information and links to each of these projects, click on the logo above.