Adam Psali on the Second Hoos

Ni Khora (Hymn for the Feast of the Wedding at Cana of Galilee) | Mlm Melad Boshra

Evshes- George Doss (1992)

"I love You O Lord, in my solitude
You call to my heart with deep words
I love You O Lord, in tribulation 
In my time of need, in my time of pain" (2x)

I love You O Lord, in my repentance 
In times of tears, in times of regret
I love You Lord, in prosperity 
"And also love You in times of scarcity" (2x)

I love You if You build a palace for me
And also love You if it is destroyed (3x)

"I love when Your heart heals my wounds
And I rejoice greatly when it is healed
I love when Your Spirit hovers around me 
Offering my soul the greatest Grace" (2x)

Offering my soul the greatest Grace (3x)

I Love You O Lord

I'm gonna walk to the graveyard
'Hind ma friend Miss Cora Lee.
Gonna walk to the graveyard
'Hind ma dear friend Cora Lee
Cause when I'm dead some
Body'll have to walk behind me.

I'm goin' to the po' house
To see ma old Aunt Clew.
Goin' to the po' house
To see ma old Aunt Clew.
When I'm old an' ugly
I'll want to see somebody, too.

The po' house is lonely
An' the grave is cold.
O, the po' house is lonely,
The graveyard grave is cold.
But I'd rather be dead than
To be ugly an' old.

When love is gone what
Can a young gal do?
When love is gone, O,
What can a young gal do?
Keep on a-lovin' me, daddy,
Cause I don't want to be blue.

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My melody to Hughes' words
x2ed
written and recorded leaning on a tree for support and camouflage, close to the river
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https://www.carnegielibrary.org/blues-langston-hughes/
Hughes read widely and deeply, responding to the work of those who came before him and setting the stage for those who would come after. Of the many poets and authors who had an influence on his writing, he cites Paul Laurence Dunbar, Carl Sandburg, and Walt Whitman as the most influential. His life and work were enormously influential during the Harlem Renaissance. An artistic, literary, and intellectual movement, the Harlem Renaissance provided varied opportunities for group expression and self-determination for African Americans living in Harlem and beyond. The parallel emergence of jazz and the blues, however, was rejected by many African Americans who considered it low class, secular, and morally disfiguring due to its association with drugs, alcohol, dancing, and other morally “loose” behaviors. Langston Hughes was the only black writer during the Renaissance who became truly taken with jazz; he infused his poetry with the sounds and feeling of the blues–its improvisational nature, syncopated rhythms, and repetitive phrases–creating a powerful challenge to the status quo.
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https://earlyblues.org/blues-poetry-blues-and-jazz-poetry-of-langston-hughes/
It was the music and its consequences in Harlem that still inspired Langston Hughes the most. This next poem [Young Gal’s Blues] is a heart-rending blues that wouldn’t have sounded out of place accompanied by a jazz or blues band back then or even today. In those Harlem days, all the jazz bands played blues and the blues musicians often doubled as jazz players to earn more money...

Hughes is quoted as saying, “My seeking has been to explain and illuminate the Negro condition in America and obliquely that of all human kind.”

Young Gal’s Blues - Langston Hughes (in song)

Ommonogenees - Arsani Sidarous

Pauline Epistle (Melismatic)-Standard

Benjamin Youssef - Wedding Singari Psalm

Evol Hiten Live at VMSA, Mississauga - Cantor Tharwat

Cemoti - H.G. Bishop Raphael

6th Hour Good Friday Coptic Prophecies - Ibrahim Ayad

“Whom have I in heaven but You? And there is none upon earth that I desire besides You. “ Psalm 73:25

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I Love You O Lord

David Seif

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