AMERICAN SOCIETY OF COMPOSERS, AUTHORS AND PUBLISHERS

THIRTY ROCKEFELLER PLAZA
NEW YORK CITY

GENE BUCK
PRESIDENT

March 18, 1936.

Mr. Langston Hughes,
634 St. Nicholas Ave.,
New York, N. Y.

Dear Mr. Hughes:

I am very happy to inform you that at a meeting
of our Board of Directors held on March 16th, 1936, you
were duly elected to Non-Participating Membership in the
Society.

All applicants are first elected to this class
and their advancement to Active Membership depends upon the
activity of their list of compositions which appears in our
files.

The Membership Committee will carefully scrutinize
your list of works and if it appears that your numbers are
extensively performed in the establishments licensed by the
Society, in due course we shall be pleased to recommend your
advancement to Active Membership.

May I extend to you my personal congratulations
along with this notification and also express the hope that
your activity will soon warrant further advancement.

SR:AH

September 4th, 1936.

Mr. Langston Hughes,
2256 East 86th Street,
Cleveland, Ohio.

Dear Mr. Hughes:

This is to acknowledge yours of the
31st enclosing copies of:

"NIGHT TIME"
"LOVELY DARK AND LONELY ONE",

which have been placed in our files.

The above change of address has been
noted upon our records.

SR:AH

GENE BUCK
PRESIDENT

September 30th, 1936.

Dear Mr. Hughes:

We are very happy to inform you that at a
meeting of the Board of Directors of this Society held
on September 28th, 1936, you were advanced from Non-
Participating to Active Membership.

Enclosed we send you Membership Agreements
for your signature and immediate return to us.

We also hand you herewith bill for dues for
the half-year ending December 31st, 1936, which you are
required to pay in advance.

We trust your membership in the Society will
be long, pleasant and profitable.

Encls.
GB:SR

GENE BUCK
PRESIDENT

October 16th, 1936.

Dear Mr. Hughes:

Enclosed herewith is copy of your Membership Agreement with the Society.

We are also enclosing herewith Membership Card for
the current year.

Encls.

SR: AH

634 St. Nicholas Avenue,
c/o Harper, Apt. 1-D,
New York, New York,
August 1, 1942.

ASCAP,
30 Rockefeller Plaza,
New York, New York.

Gentlemen,

I am enclosing herein for registration with the Society a copy
of my new song, A NEW WIND A'BLOWIN', lyrics by myself, music
by Elie Siegmeister.

This is also to advise you that three other new numbers of mine,
forthcoming, (contracts signed) are already being used on the
air waves. They are THE NEGRO SPEAKS OF RIVERS which W. C. Handy
is bringing out in October. And THAT EAGLE and FREEDOM ROAD, pa-
triotic songs, which Musette, Inc., is publishing August 7. The
song, FREEDOM ROAD, has been sung for the past six weeks now by
Kenneth Spencer at the Uptown Cafe Society. It is being intro-
duced at the Downtown Cafe Society by Lee Tyler. And it has been
performed on the Clifford Burdette radio program, ALL MEN ARE
CREATED EQUAL, on the TREASURY STAR PARADE by transcription, and
on the last MARCH OF TIME, July 30, by the Lynn Murray Chorus
with Mark Warnow's Orchestra. It is scheduled for the Navy show
program shortly.

THIRTY ROCKEFELLER PLAZA
NEW YORK 20, N. Y.

September 18, 1944

Mr. Langston Hughes
c/o Harper Apt. 1 D
634 St. Nicholas Street
New York, New York

Dear Mr. Hughes:

In re: "BLUES ON THE HARP"
by Langston Hughes and Toy
Harper

"WE'LL HAMMER IT OUT TOGETHER"
by Langston Hughes and Earl
Robinson

This is to acknowledge copies of the above
compositions.

We note that your collaborator on "BLUES ON
THE HARP", Toy Harper, is not a member of the
Society, and we would very much appreciate it if
you would kindly secure a letter from him author-
izing this selection to be cleared through your
membership in the Society. Upon receipt of this
letter, would you kindly forward it to us?

Thanking you for your kind cooperation,
we remain,

cdb:eg

September 11, 1945

Mr. Langston Hughes
c/o Harper
634 St. Nicholas Ave.
Apt. 1 D, New York, N.Y.

Dear Mr. Hughes:

In re: "AT THE FEET OF JESUS"
by Langston Hughes & Toy Harper

This is to acknowledge receipt of the
copy of the above composition.

We would very much appreciate it if you
would secure a letter from Toy Harper, as you have
done in the past, authorizing this work to be cleared
through your membership in the society.

Our records disclose that a claim to copy-
right to "At De Feet Of Jesus," with words by Langston
Hughes and music by A. Morales was filed by Adriana
Morales, September 8, 1930 (E unp. 27598). Any in-
formation you may be able to give us regarding this
entry would be greatly appreciated.

cdb:fm

October 25, 1945

Dear Miss Bridgeman:

In answer to your letter of September 7 in reference
to "At the Feet of Jesus," by myself and Toy Harper,
which I sent you in manuscript for registration, I
do not know anything about the copyrighting of the
same song with music by A. Morales. I suppose that
the composer possibly made arrangements with my
publishers, Alfred A. Knopf, Inc., since my poem was
published in a book by Knopf.

In some cases, there are several settings by various
Composers of my poems, and I have no objection to
that. Certainly, in this case, the music would be
entirely different and an extra verse has been added
to the lyric of the poem in the composition which I
myself have registered with you.

Miss Carol Bridgman
Index Department
ASCAP
30 Rockefeller Plaza
New York 20, N. Y.

May 30, 1946

Dear Miss Bridgman:

I am sending for registration with
the Society a new unpublished song of
mine, "April Rain Song". The music is
by Toy Harper who sent you a note in re-
gard to some other songs, authorizing
clearance through ASCAP of whatever songs
we might write.

Very truly yours,

Miss Carol Bridgeman
Index Department
A. S. C.A. P.
30 Rockefeller Plaza
New York 20, New York

May 3, 1948

Mr. Deems Taylor,
A. S. C. A. P.,
30 Rockefeller Plaza,
New York 20, New York.

My dear Mr. Taylor,

I would very much appreciate it if you would
bring to the attention of the Classification Committee,
at the next meeting, my recent activities during the
past year in the field of publishing and performance.

As you no doubt know I did the lyrics for the
Elmer Rice--Kurt Weill dramatic musical, STREET SCENE,
which enjoyed a Broadway run and whose score has recently
been published by Chappell. There were several recordings
of individual numbers and an album of the show by Columbia.
One of the numbers, MOON-FACED, STARRY-EYED, enjoyed con-
siderable activity on the air, as well as several of the
records.

In the standard field, Carl Fischer, Inc., has
published during 1947 two of my songs with Hall Johnson,
AT THE FEET OF JESUS and ON THE DUSTY ROAD now being used
by various singers. Others of my songs with William Grant
Still, and the Silvestre Revueltuas SONG FOR A DARK GIRL
are increasingly appearing on concert programs. In the
field of educational music my song, THIS IS MY LAND, is
being used by a number of schools, and last spring in
Atlanta it was sung by a thousand-voice chorus at the
annual public school music festival.

I do not recall my classification in the Society
being changed in a number of years now, so I bring these
things to your attention.

With my continued good wishes to you,

January 25, 1950

Miss Sylvia Rosenberg
A. S. C. A. P.
30 Rockefeller Plaza
New York 20, New York

Dear Miss Rosenberg:

I am enclosing for registration with A.S.C.A.P. seven (7) new
songs for which I have done the lyrics, as follows:

| | |
| :--- | :--- |
| **RED SUN BLUES** | **Music by Albert Hague** |
| **TELL ME YOUR STORY** | " " " |
| **BALLAD OF THE GYPSY** | " " " |
| **BALLAD OF THE FORTUNE TELLER** | " " " |
| | |
| **BABY, WHAT'S YOUR ALIBI?** | **Music by Dave Martin** |
| **DON'T BLAME BABIES** | " " " |
| **COOL SATURDAY NIGHT** | " " " |

Kindly call these to the attention of your Index Department.
The four songs by Albert Hague have been taken by Burl Ives and
he is recording TELL ME YOUR STORY for Columbia Records today.
He is using BALLAD OF THE GYPSY and possibly one or two others
in the Persian Room where he is opening this week.

ALIBI?

BABY, WHAT'S YOUR / has been recorded by Nellie Lutcher and is
being published by Ardmore Music of Capitol Songs.

I am asking Mr. Albert Hague (154 West 75th Street, New York City)
and Mr. Dave Martin (370 Manhattan Avenue - Apt. 1-A, New York City)
to write you a letter authorizing their work to be cleared through
my membership in the Society.

LH/nw

Enclosures: 7 lead sheets of above listed songs.

January 25, 1950

Dear Miss Rosenberg:

| | |
|:---|:---|
| **RED SUN BLUES**<br>**TELL ME YOUR STORY**<br>**BALLAD OF THE GYPSY**<br>**BALLAD OF THE FORTUNE TELLER** | **Music by Albert Hague**<br>" " " "<br>" " " "<br>" " " " |
| **BABY, WHAT'S YOUR ALIBI?**<br>**DON'T BLAME BABIES**<br>**COOL SATURDAY NIGHT** | **Music by Dave Martin**<br>" " " " |

ALIBI?

LH/nvw

January 30, 1950

Dear Miss Rosenberg:

I am enclosing for registration with A.S.C.A.P. a new song
for which I have done the lyrics. It is:

YOU TOOK THE SUNSHINE WITH YOU

The music for this song was written by Lawrence R. Smith,
824 Dawson Street, Bronx 59, New York. I have asked Mr.
Smith to write you a letter authorizing his work to be cleared
through my membership in the Society.

Kindly call YOU TOOK THE SUNSHINE WITH YOU to the attention of
your Index Department. The composer has just arranged for a
recording of this song with the Cherokee Record Company, 1537
Broadway, New York, N.Y.

Also please register, EARLY BLUE EVENING, music by Albert Hauge,
154 West 75th Street, New York, New York, which has just been
accepted for publication by Laurel Music. I will have him send
you a letter of clearance.

I am enclosing a program of my opera, THE BARRIER, music by Jan
Meyerowitz, which has just closed a ten-day run at the Brander
Matthews Theatre, Columbia University, and there is a possibility
of it going to Broadway soon. In order to register this opera
with you, would it be necessary to send you a complete score, or
just what should I do? (Scores at this point are rather scarce).

I am enclosing herein, too, a copy of PORT TOWN by Jan Meyerowitz
for registration. This song has been sung now for almost a year by
Muriel Smith in the London (England) revue, SAUCE TARTARE, and also
in the nightclub where she doubles after the show. I am asking Mr.
Meyerowitz to send you a letter of clearance.

Very truly yours,

LH/nvw - Enclosures

February 2, 1950

Dear Miss Rosenberg:

THE NEGRO SPEAKS OF RIVERS

The musical setting for this song was written by Howard Swanson, 452 St. Nicholas Avenue, New York city. It is not to be confused with THE NEGRO SPEAKS OF RIVERS which is also registered with the Society for which music was written by Margaret Bonds. I have asked Mr. Swanson to write you a letter authorizing his work to be cleared through my membership in the Society.

Kindly call THE NEGRO SPEAKS OF RIVERS to your Index Department.
It has just been published by LEEDS Music Corporation. And
Marion Anderson recently sang it in a recital at Carnegie Hall
and is using it in her concerts this season.

LH/nvw

Enclosure

March 21, 1950

Dear Miss Rosenberg:

Under separate cover I am sending to you two (2) new songs
for which I have done the lyrics, as follows:

FIVE O'CLOCK BLUES, Music by Dave Martin

NO GOOD MAN, Music by Margaret Bonds

Kindly call these to the attention of your Index Department,
as well as the Program Department.

The FIVE O'CLOCK BLUES has just been recorded by The Strivers
(quartet) for Apollo. Juanita Hall intends to use it at the
Shelbourne Lounge next month. Miss Edith Wilson is already sing-
ing it, and several other nightclub performers say they are in-
cluding it in their repertoire.

COOL SATURDAY NIGHT by Dave Martin which I sent you for registration
several weeks ago was also recorded by The Strivers for Apollo.

I am asking both Mr. Martin and Miss Bonds to send you a note
authorizing clearance of these songs through my membership in the
Society.

LH/nvw

April 15, 1950

Miss Sylvia Rosenberg,
A. S. C. A. P.,
30 Rockefeller Plaza,
New York 20, New York.

Attention: Classification Committee

Dear Miss Rosenberg,

Would you kindly call to the attention of the Classification Committee the increased activity of my lyrics, particularly in the Standard Field, since more and more concert singers are using various settings of my poems, including Marian Anderson who has had two or three of my songs on most of her programs, including Carnegie Hall, this season.

And in the Popular Field I've recently had five recordings. And several night club singers are using my material these days.

I've indicated these things in detail on the enclosed sheets which I would appreciate your sending on to the Committee.

My opera, "The Barrier", score by Jan Meyerowitz, ran for ten days at the Brander Matthews Theatre, Columbia University. It goes into re-hearing Mrunal again in early May to do summer theatres, and Michael Meyer-berg is bringing it to Broadway in the fall (so he has contracted).

The disc jockeys this week are playing my recording by the Striders of "COOL SATURDAY NIGHT" and "FIVE O'CLOCK BLUES". The latter song is now being used by Juanita Hall at the Shelburne Lounge, and by Manhattan Paul at the Club Savannah in New York. And Miss Lil Palmer may be singing it at Pitts Pub in Chicago, or shortly will be.

My thanks to you, and continued good wishes,

May 12, 1950

Miss Sylvia Rosenberg
A. S. C. A. P.,
30 Rockefeller Plaza
New York 20, New York

Dear Miss Rosenberg!

I called to the attention of your office on the phone the other
day the fact that the current Victor release of the recording
of my song, LOVE CAN HURT YOU, for which I did the lyrics, with
music by Juanita Hall, was credited on the unbreakable records
released to the disc jockeys to Alamo Music, BMI. This should
be A.S.C.A.P., and the Victor people promised to do what they
could to rectify that error. The song is being played on a number
of disc jockey programs these days.

There is also an error of omission on both the disc jockey records
and those released for sale of Columbia's recording by Burl Ives
of my song, GOT THE WORLD BY THE TAIL. On these records (through
an oversight, so Columbia tells me) only the name of the composer,
Albert Hague, appears. My name as lyricist should also be there.

I tell you these things in case they affect my A.S.C.A.P. airchecks
in any way.

The third record of mine being played on the air these days is the
Apollo recording by the Striders of COOL SATURDAY NIGHT. But they
seem to have made no errors on credits with this one.

LH/nvw

June 2, 1951

Miss Carol Bridgman
A.S.C.A.P.
Index Department
30 Rockefeller Plaza
New York 20, New York

Dear Miss Bridgman:

I am enclosing for registration with A.S.C.A.P., a new song for
which I wrote the lyrics. It is:

THE SPRING THAT DID NOT BECOME SUMMER

The music for the song was composed by Lawrence Smith, 824 Dawson Street, Bronx 59, New York, whom I have asked to write you a letter authorizing that the number be cleared through my membership in the Society.

It was recently published by Eagle Music Publications, Plaza Station Box 1749, St. Louis, Missouri.

Thanks in advance for your cooperation.

Very truly yours,

DANGSTON HUGHES

LH/nwv

Enclosure

P. S. I am also enclosing for registration two recently published songs by Howard Swanson to my lyrics: PIERROT and IN TIME OF SILVER RAIN (Weintraub Music Co., 853 Seventh Avenue, New York 19, New York, asking Mr. Swanson to write you a letter of clearance.

August 3, 1951

Mrs. Lucille E. Goodloe,
653 Palmwood Avenue,
Toledo 2, Ohio.

Dear Mrs. Goodloe,

Since Mr. Hughes is in the country, I am following the
usual procedure of registering his song with ASCAP and sending
you the customary release letter to sign, which in no way
affects your rights to the song. One copy is for your files.
Kindly sign and send the other to ASCAP.

I know Mr. Hughes will be delighted to see the songs, and
I am sending him a copy to the country by a relative of the
composer who is driving up this week-end. The remaining copies
I am holding for his attention on his return.

NOV 24 1953

American Society of Composers,
Authors and Publishers
575 Madison Avenue
New York 22, N. Y.

Gentlemen:

With respect to the existing Television
Performing Rights Agreement entered into between you
and the undersigned for a term ending December 31, 1953,
you and the undersigned hereby agree to extend the same
and all the terms, conditions and provisions thereof for
a further period of four (4) years, so that the same
shall expire on the 31st day of December, 1957, instead
of on the 31st day of December, 1953.

Your signature and seal at the foot hereof,
underneath the word "ACCEPTED", together with the sig-
nature of the undersigned at the foot hereof, will make
this a valid, binding and enforceable agreement between
us.

ACCEPTED:

December 10, 1953

Mr. Joel Newman
Serious Music Department
ASCAP
575 Madison Avenue
New York 22, New York

Dear Mr. Newman:

Thank you for your letter of December 3.

This is my authorization for Mr. Sergius Kagen
to set to music my poem, APRIL RAIN SONG.

LH-HS

September 8, 1954

Miss Carol Bridgman
Index Department
ASCAP
575 Madison Avenue
New York 22, New York

Dear Miss Bridgman: I am sorry to be so long in answering your communication of August 23, which I found awaiting me upon my return to the city yesterday.

Concerning my song, YOU TOOK THE SUNSHINE WITH YOU, lyrics by Langston Hughes, music by Lawrence Smith:

(1) This composition was written sometime during 1949

(2) The addresses of the composers are:

Lyricist:- Langston Hughes
20 East 127th Street, New York 35, New York

Composer:- Lawrence Smith
824 Dawson Street, Bronx 59, New York

(3) Contracts with publishers is dated January 19, 1950

(4) A copy of the contract is enclosed

I am enclosing also a copy of the music. There has been also one recording of this song, CHEROKEE, CH 334-A, sung by Emmett Hobson as a box trot ballad with a combo.

The only radio performance of this song that I know of have been by Una Mae Carlisle who has used it on some of her programs, playing and singing it herself. I understand that the record had some disc jockey use.

LH-HS

Enclosure

September 8, 1954

I am enclosing also a copy of the music. There has been also one recording of this song, CHEROKEE, E# 334-A, sung by Emmett Hobson as a fox trot ballad with a combo.

LH-HS

Enclosure

February 21, 1955

Miss Carol Bridgman,
ASCAP, Index Department,
575 Madison Avenue,
New York 22, New York.

Dear Miss Bridgman,

In re: "I'VE GOT THE WORLD BY THE TAIL" for which
you request information in your letter of February 16:

Lyrics by Langston Hughes
Music by Albert Hague
Publisher: Wayfarer Music
Recorded by Burl Ives—Columbia 38817

originally copyrighted by the authors and registered
with ASCAP.

I might call to your attention that my cantata written
by Jan Meyerowitz (score) and published by Broude
Brothers Music Company, 1954, is to be played by the
New York Philharmonic on this coming April 16, 15, and
17 at Carnegie Hall, so I trust this composition is
registered with your Index Department.

With very best regards,

MURRAY HILL 8-8800

CABLE ADDRESS: ASCAP, NEW YORK

575 MADISON AVENUE
NEW YORK 22, N. Y.

March 16, 1955

Mr. Langston Hughes
20 East 127th Street
New York 35, N. Y.

Dear Mr. Hughes:

This will acknowledge, with thanks, the receipt of your letter
of March 2nd.

We are pleased to note that your work "THE GLORY AROUND HIS
HEAD" for chorus, soli and orchestra, will be performed by the New York
Philharmonic and the Westminster Choir at Carnegie Hall on April 14th, 15th
and 17th, with a broadcast of the Sunday performance.

Our records show that this work was copyrighted by our member,
Broude Brothers, and you will be duly credited with these performances.

As regards works written by you and published by non-members,
may we suggest that you send us the original or photostatic copies of your
agreements with the non-member publishers, so that we may look into the
matter and advise you further. If you send us the originals of the contracts,
we shall see to it that they are returned to you promptly.

rn:mp

September 29, 1955

Mr. Daniel I. McNamara,
A. S. C. A. P.,
New York 22, New York.

Dear Mr. McNamara,

Thank you very much for your
letter acknowledging the book, FAMOUS NEGRO MUSIC
MAKERS, which I asked Dodd, Mead to send you. I
wanted your office to have a copy not only because
many of the persons mentioned in it are ASCAP mem-
bers, but because of what I say about the juke box
situation on page 171 in line with ASCAP's efforts
to remedy this condition.

This note requires no answer. I
know what an awful amount of time letters can take
from more important work.

WE ARE HAPPY TO ANNOUNCE THAT ALL SEATS
FOR ASCAP'S ANNUAL BANQUET ON MARCH 29TH,
1960, WILL AGAIN BE RESERVED AND SEATING LISTS
GIVEN TO EVERY MEMBER UPON ARRIVAL.

*This ticket issued in your name is not transferable.*

THEREFORE, IF FOR ANY REASON YOU CANNOT ATTEND THIS BANQUET, PLEASE CONTACT MISS SYLVIA ROSENBERG SO THAT YOUR RESERVATION CAN BE CANCELLED IN TIME.

The Dinner Committee

October 4, 1962

S. D. R. M.,
28, rue Ballu,
Paris 9e, France.

Mes chers Monsieurs,

Since my play, BLACK NATIVITY, is scheduled for a
European tour during the coming months of 1962-63, I wish
to inform you of the following facts, and request you to
keep track of this play for me. I am a member of ASCAP,
the Dramatists Guild, AGAC, AFTRA, P.E.B. in New York, and
have had several plays on Broadway.

BLACK NATIVITY, a Gospel Song-Play, is by myself, Langston
Hughes (copyrighted, 1961, USA, by Langston Hughes). The music
consists of traditional Negro spirituals and public domain hymns,
incorporated into my spoken and mimed text. BLACK NATIVITY
opened at the 41st Street Theatre in New York on January 11, 1961,
and ran there and at the York Theatre for several weeks. It then
played at the Festival of Two Worlds in Spoleto, Italy, in June
and July, 1962. And it opened in London at the Criterion Theatre
on August 14, 1962, where it did two performances a day, being a
hit, until it transfered to a larger theatre, the Phoenix, where
it is now running on Piccadilly Circus. It has been videotaped
in London for a television showing there and in the U. S. A. on
Christmas Eve. In America via Westinghouse ABC television. The
play is billed:

BLACK NATIVITY by Langston Hughes

The songs are all open domain traditional or hymns, but the
dramatic text is my own, as well as the over-all conception
and performing script, and poems of mine are incorporated into
the text to be intoned against music during the performance.

I would very much appreciate your society keeping track of this
production while it is in Europe.

Please express my gratitude to Mr. J. Gianoli for the recent
statements of income which his Service de la Comédie has
sent me.

LANGSTON HUGHES

20 EAST 127TH STREET
NEW YORK 35, N. Y.

October 4, 1962

Mr. Rudolf Nissim,
Foreign Department,
A S C A P,
575 Madison Avenue,
New York 22, N. Y.

In re: "BLACK NATIVITY"

Dear Mr. Nissim:

BLACK NATIVITY, A Gospel Song-Play by Langston Hughes (copyrighted, 1961, by Langston Hughes) using Negro spirituals and public domain hymns, with a spoken and mimed text, opened on January 11, 1961 at the 41st Theatre, New York, and ran there and at the York Theatre for several weeks. It played the Festival of Two Worlds at Spoleto, Italy, in June and July, 1962. And opened in London at the Criterion Theatre on August 14, 1962, where it was a hit. The show has now transferred to a larger house, the Phoenix on Piccadilly Circus, where it is now running. This winter a European tour is contemplated. It is billed as

It contains no songs of my authorship, but the text and conception are mine, and incorporated into the production are some poems of mine spoken against music, in dramatic rendition.

I would very much appreciate it if you would advise SIEA in Italy, and S. D. R. M. in Paris of these facts since I believe both these societies collect on performing rights for authors in European countries, and I would like them to keep track of this production. Under separate cover I am sending you a script of BLACK NATIVITY which, if you think it wise, you may pass on to either of the above mentioned societies.

BLACK NATIVITY has been televised (video taped in London) for American showing Christmas Eve on Westinghouse ABC, 1962.

Thank you very much for your interest.

P. S. My song, GOODEYE NEWPORT BLUES (music by Otis Spann) on MUDDY WATERS AT NEWPORT, PYE JAZZ, NJL 34 Disc, London, is played on radio there quite a deal. In the U. S. A. it is on a Chess Records release of the same title, and published by Sunflower Music, Room 507, 1619 Broadway, New York City, with music listed as being by Muddy Waters. Song copyrighted August 12, 1960, by myself and Otis Spann, EU-635802--57978.

October 4, 1962

Mr. Rudolf Nissim,
Foreign Department,
A S O A P,
575 Madison Avenue,
New York 22, N. Y.

In re: "BLACK NATIVITY"

Dear Mr. Nissim:

BLACK NATIVITY, A Gospel Song-Play by Langston Hughes (copyrighted, 1961, by Langston Hughes) using Negro spirituals and public domain hymns, with a spoken and mimed text, opened on January 11, 1961 at the 41st Theatre, New York, and ran there and at the York Theatre for several weeks. It played the Festival of Two Worlds at Spoleto, Italy, in June and July, 1962. And opened in London at the Craterion Theatre on August 14, 1962, where it was a hit. The show has now transferred to a larger house, the Phoenix on Piccadilly Circus, where it is now running. This winter a European tour is contemplated. It is billed as

P. S. My song, GOODBYE NEWPORT BLUES (music by Otis Spann) on MUDDY WATERS AT NEWPORT, PYE JAZZ, NJL 34 disc, London, is played on radio there quite a deal. In the U. S. A. it is on a Chess Records release of the same title, and published by Sunflower Music, Room 507, 1619 Broadway, New York City, with music listed as being by Muddy Waters. Song copyrighted August 12, 1960. by myself and Otis Spann.

ASCAP

October 4, 1962

Mr. Rudolf Missim,
Foreign Department,
A S C A P,
575 Madison Avenue,
New York 22, N. Y.

In re: "BLACK NATIVITY"

Dear Mr. Missim:

BLACK NATIVITY, A Gospel Song-Play by Langston Hughes (copyrighted, 1961, by Langston Hughes) using Negro spirituals and public domain hymns, with a spoken and mimed text, opened on January 11, 1961 at the 41st Theatre, New York, and ran there and at the York Theatre for several weeks. It played the Festival of Two Worlds at Spoleto, Italy, in June and July, 1962. And opened in London at the Crèterion Theatre on August 14, 1962, where it was a hit. The show has now transferred to a larger house, the Phoenix on Piccadilly Circus, where it is now running. This winter a European tour is contemplated. It is billed as

P. S. My song, GOODBYE NEWPORT BLUES (music by Otis Spann) on MUDDY WATERS AT NEWPORT, PYE JAZZ, NJL 34 disc, London, is played on radio there quite a deal. In the U. S. A. it is on a Chess Records release of the same title, and published by Sunflower Music, Room 507, 1619 Broadway, New York City, with music listed as being by Muddy Waters. Song copyrighted August 12, 1960, by myself and Otis Spann, EU-635802--57978.

MURRAY HILL 8-8800

575 MADISON AVENUE
NEW YORK 22, N.Y.

October 17, 1962.

Mr. Langston Hughes
20 East 127th Street
New York 35, New York

Dear Langston:

I have been out of town for over a week, and returned to
find your good letter of October 4 with the detailed account of your
activities. Let me first say, "Congratulations!" And I wonder how
you ever get the time to do all these fine things.

The October issue of the ASCAP NEWS has been at the
printer's for a couple of weeks but, believe me, I will certainly use
a lot of your material in the following one, which will be printed in
January.

In the meantime, I am also sending this information to
Stanley Green at the Lynn Farnol office, and feel sure that he will
be able to make good use of it.

I am always delighted when I read about the good things
you are doing, Langston, and want to take this opportunity to wish you
continued success.

Kindest personal regards -

RFF:cm

MURRAY HILL 8-8800

May 3, 1963

Dear Mr. Hughes:

In re: "BLACK NATIVITY"

With reference to your letter of October 4, 1962 (copy of which is attached), the contents of which we communicated to the Italian Society, SIAE, we have now received another inquiry from the U.S.A. representative of SIAE, from which we quote below:

"BLACK NATIVITY" will now be performed in Italy again by Messrs. Garinei & Giovannini. Upon learning that SIAE intends to ask for the usual rights for the musical performances, Messrs. Garinei & Giovannini have sent to SIAE copy of a letter by Mrs. Barbara Griner, President of 'Gospel Inc.' which is producing the performance, stating:

'Gentlemen: This will confirm the following: Since we as licensors of the play have dealt directly with the publishers of and copyright owners of the copyrighted musical material in the Play and secured necessary licenses therefrom for which we are paying royalties, and since the vast majority of the material is traditional public domain material, we see no reason nor necessity for SIAE or any other performing right or author's society to receive any payments from you or anyone else in connection with such musical material.'

Considering the statements made by Mr. Langston Hughes in his letter of Oct. 4, 1962, to you; seeing also the list of the songs that were performed in Spoleto in connection with this work (see enclosed list), SIAE would like to know:

1) Has any part of the music performed in the framework of "BLACK NATIVITY" been composed as an original score for the dramatic rendition of the poem; no.

(cont'd.)

Mr. Langston Hughes

- 2 -

May 3, 1963

2) Which of the listed songs is public domain (whether arranged or not), and which, if any, is an original creation of the authors indicated in the list;

3) Does ASCAP agree with the statements of Mrs. Griner, and does it imply that if the performance would take place in the United States, ASCAP would decline any power or rights for the musical part of the performance."

From our previous correspondence with you regarding this matter, it would appear that performances of this work in its entirety on the legitimate stage are to be considered as dramatic renditions - in fact, the Society has never licensed performances of "BLACK NATIVITY" in the U.S.A. - but before answering SIAE's inquiry, we would appreciate your comments at your earliest convenience.

rn:hl

encl.

Mr. Rudolf Nissim,
A. S. C. A. P.,
575 Madison Avenue,
New York 22, N. Y.

May 13, 1963

Dear Mr. Nassim:

In reference to my play, BLACK NATIVITY and SIAE, so far as I know all of the songs used in this production are open domain except the following, which I as author of the song-play permitted the singers to insert into the 2nd act gospel-concert portion of the production as "show-pieces" for themselves from their own repertoires:

WE SHALL BE CHANGED by Clara Ward---Planemar Music

THE BLOOD SAVED ME by Frances Stedman

NOBODY LIKE THE LORD by Alex Bradford

HIS WILL MUST BE DONE by (?)

SAID I WASN'T GONNA TELL NOBODY by Alex Bradford

PACKING UP by Clara Ward & Donald Love - Hill & Range

According to the Lincoln Centre program (December, 1962) the copyrights of a number of the arrangements and above songs are claimed by Hills and Range, Martin and Morris Music, Inc., Savoy Music Company, Pathway House of Music, and Conrad Music Publishing Company---all, I think, B.M.I. firms. In any case, none of the songs are mine.

Specifically, in answer to the SIAE questions listed in your letter of May 3:

1) No music was composed as an original score for BLACK NATIVITY.

2) Original songs listed above. All others are in public domain, so far as I know, although the arrangements may be, in some cases, by the singers themselves.

3) ASCAP, as previously stated, would seem to me to have no jurisdiction over any BLACK NATIVITY music. Certainly none of it is mine.

I repeat, I am author of the script of BLACK NATIVITY, selected the music, and conceived the production---but did not write the songs used therein. As author of the play, Gospel, Inc., has since its inception paid me royalties; or in Europe a flat fee per week for performances there.

Thank you very much, sir, for your trouble and interest in this matter.

May 13, 1963

Dear Mr. Nassim:

According to the Lincoln Centre program (December, 1962) the copyrights of a number of the arrangements and above songs are claimed by Hills and Range, Martin and Morris Music, Inc., Savoy Music Company, Pathway House of Music, and Conrad Music Publishing Company—all, I think, B.M.I. firms. In any case, none of the songs are mine.

I repeat, I am author of the script of BLACK NATIVITY, selected the music, and conceived the production—but did not write the songs used therein. As author of the play, Gospel, Inc., has since its inception paid me royalties, or in Europe a flat fee per week for performances there.

575 MADISON AVENUE
NEW YORK, N. Y. 10022

CATHEDRAL
STATION

MURRAY HILL 8-8800

RICHARD F. FROHLICH
DIRECTOR OF PUBLIC RELATIONS

March 18, 1964

Dear Langston:

After writing you yesterday, I suddenly recalled
doing a bit about you for the current Newsletter and sure
enough on page 3 you will find an item about your new play
under "Honors for Members".

I don't know whether this copy of the Newsletter
has reached you yet so I am sending one along for your benefit.

With all good wishes -

RFF:lr

Enclosure