A must for all who would more knowledgeably appreciate and better comprehend America's most popular music. -- Langston Hughes

The path the slave took to 'citizenship' is what I want to look at. And I make my analogy through the slave citizen's music--through the music that is most closely associated with him: blues and a later, but parallel development, jazz... [If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed by his characteristic music.

So says Amiri Baraka (previously known as LeRoi Jones) in the Introduction to Blues People, his classic work on the place of jazz and blues in American social, musical, economic, and cultural history. From the music of African slaves in the United States through the music scene of the 1960's, Baraka traces the influence of what he calls negro music on white America--not only in the context of music and pop culture but also in terms of the values and perspectives passed on through the music. In tracing the music, he brilliantly illuminates the influence of African Americans on American culture and history.

Dutchman is designed to shock--its basic idea, its language and its murderous rage. --New York Times

Centered squarely on the Negro-white conflict, both Dutchman and The Slave are shocking plays--in ideas, in language, in honest anger. They illuminate as with a flash of lightning a deadly serious problem--and they bring an eloquent and exceptionally powerful voice to the American theatre.

Dutchman opened in New York City on March 24, 1964, to perhaps the most excited acclaim ever accorded an off-Broadway production and shortly thereafter received the Village Voice's Obie Award. The Slave, which was produced off-Broadway the following fall, continues to be the subject of heated critical controversy.