دارت الايام وتبدل هنانا… غابت الافراح عن قصة هوانا😔

بترجع الافراح باذن الله 😣

يا ساكن مادفع الاجار🥲

https://www.youtube.com/watch?v=F7KOYvEqixA

الحنين إلى الفن الأصيل عبر عمالقة الماضي
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Nostalgia / نوستالجيا

عبادي الجوهر |  نـامت الأشـواق .. تسجيل خرافي

كلمات : بدر بن عبدالمحسن
ألحان : طلال مداح 

طلال مداح - فاتر اللحظ.

روح في دربك. عبادي

‏حبنا كان مسلوب الإراده .. كان محتاج لأمل

طلال مداح / انساك دا كلام

I loved my friend. 
He went away from me. 
There’s nothing more to say. 
The poem ends, 
Soft as it began,—
I loved my friend. 

—————————————
https://frankhudson.org/2022/02/23/langston-hughes-poem/

….It may be me and my current situation, but when I read “Poem”  I immediately thought it was a memorial poem, a five-line-with-one-refrained-line statement of the essence of loss intended to put itself up against something like the book-length “In Memoriam A.H.H.”  by Alfred Tennyson. I still find nothing in the text that forbids that reading.

But death isn’t the only loss in life. Some, particularly those looking for obscured clues to Langston Hughes’ erotic orientation see this a coded statement of a romantic or erotic breakup with a “He.” Like Shakespeare’s sonnet sequence and Tennyson’s long poem, the poem has a dedication to a set of initials: “F. S.” in “Poem’s”  case. Some articles one can find in a web search identify this dedicatee as Ferdinand Smith, who was in the merchant marine — as was young Hughes before he published The Weary Blues.  Hughes did know Smith, but I haven’t seen a full explanation of how this putative identification was made. Oddly, if this poem of complete separation was written about Smith, Hughes and Smith kept in touch until Smith’s death in 1961. In Real Life there was no utter break between the two — but that’s biographical information, nothing in the text forbids the abandoned love reading either….

And then too the poet Hughes of The Weary Blues  and elsewhere is very broad in his use of the pronoun I. Not only does Hughes not identify F. S. and what exactly was the nature of the love relationship, Hughes is fully capable of using “I” as a collective or representational singular. Think of Hughes most famous early poem “The Negro Speaks of Rivers”  — its litany of I’s is not a Quantum Leap  confession that this certain 20th century poet worked on the Pyramids or rafted the Mississippi with Abe Lincoln.

But “Poem” does feel like a personal expression, even if Hughes may frustrate us if we prefer poems as memoir filled with explicit self-expression. Yet maybe this is of little importance to the essence the poem wants to express. Grief from loss of a lover who leaves and lives, or loss of a friend who has died — does the heart assay any difference?

Musically today I demonstrated fidelity of a different kind, playing a cheap 40-year-old 12-string guitar that I bought shortly after coming to Minnesota, and a bass that once belonged to Dean Seal, who played in the LYL Band in the early 80s. I have newer better* instruments, but it seemed like a good way to reset and get back to making some new Parlando Project musical pieces after February presented other matters that needed to be done.

You can hear my performance of Langston Hughes’ “Poem”  with the player gadget below — or if you don’t see that, with this highlighted link.

Poem To FS - Langston Hughes (in song)

لو غبت عني - نادرة جوهرية

البوم كلميني

معاك حق - عبادي الجوهر

البوم رقم 17 - مع الايام

طلال مداح - مع الايام

عبادي الجوهر - ارحلي لو قدرتي عالرحيل  - جودة أعلى

Sandy - Ayza A'olak / ساندي - عايزة أقولك
From Album Ahssan Min Kiteer من ألبوم أحسن من كتير 
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عبادي الجوهر | نـامت الأشـواق .. تسجيل خرافي

Mohmed Abd El Salam 3

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