0:00:00.320,0:00:01.310 - Hi, I'm John Green. 0:00:01.310,0:00:02.653 This is Crash Course Literature, 0:00:02.653,0:00:05.682 and today we're gonna discuss[br]the poetry of Langston Hughes. 0:00:05.682,0:00:06.515 So, the Harlem Renaissance 0:00:06.515,0:00:07.976 was an early 20th-century movement 0:00:07.976,0:00:09.901 in which writers and artists of color 0:00:09.901,0:00:11.840 explored what it means to be an artist, 0:00:11.840,0:00:13.030 what it means to be black, 0:00:13.030,0:00:14.754 and what it means to be an American, 0:00:14.754,0:00:16.126 and also what it means to be 0:00:16.126,0:00:18.481 all three of those[br]things at the same time. 0:00:18.481,0:00:19.314 Mr. Green, Mr. Green! 0:00:19.314,0:00:20.490 Does the Harlem Renaissance[br]have anything to do 0:00:20.490,0:00:22.660 with that Renaissance with[br]like Leonardo da Vinci 0:00:22.660,0:00:24.961 and all of the other Ninja Turtles? 0:00:24.961,0:00:26.570 Kind of, but the Harlem[br]Renaissance happened 0:00:26.570,0:00:28.886 a lot later than the European Renaissance, 0:00:28.886,0:00:30.577 also on a different continent, 0:00:30.577,0:00:33.380 and there was much less[br]plague and much more jazz. 0:00:33.380,0:00:35.963 (upbeat music) 0:00:42.442,0:00:43.275 Okay, so one journalist 0:00:43.275,0:00:45.286 described the Harlem Renaissance this way: 0:00:45.286,0:00:46.251 "What a crowd! 0:00:46.251,0:00:48.591 "All classes and colors met face to face, 0:00:48.591,0:00:52.077 "ultra aristocrats, bourgeois, communists, 0:00:52.077,0:00:54.711 "park avenue galore, bookers, publishers, 0:00:54.711,0:00:57.042 "Broadway celebs, and Harlemites 0:00:57.042,0:00:58.804 "giving each other the once over." 0:00:58.804,0:00:59.637 What's the once over? 0:00:59.637,0:01:00.852 Is that a dirty thing, Stan? 0:01:00.852,0:01:02.658 Apparently it is not a dirty thing. 0:01:02.658,0:01:05.120 The Harlem Renaissance began[br]just after the First World War 0:01:05.120,0:01:07.661 and lasted into the early[br]years of the Great Depression 0:01:07.661,0:01:08.494 because it turns out, 0:01:08.494,0:01:09.912 it's pretty hard to have a renaissance 0:01:09.912,0:01:12.172 when no one has any money[br]as they found out in Venice. 0:01:12.172,0:01:13.292 And like the European Renaissance, 0:01:13.292,0:01:14.907 it was a social and political movement, 0:01:14.907,0:01:16.729 but also an artistic one. 0:01:16.729,0:01:18.811 I mean, it inspired literature and poetry, 0:01:18.811,0:01:21.063 music, drama, ethnography, 0:01:21.063,0:01:23.224 publishing, dance, fashion, 0:01:23.224,0:01:25.858 probably even some novelty cocktails. 0:01:25.858,0:01:27.345 As Langston Hughes wrote about this time, 0:01:27.345,0:01:29.643 "The negro was in vogue." 0:01:29.643,0:01:32.185 Oh, it must be time for the open letter. 0:01:32.185,0:01:33.741 Oh look, it's a floating dictionary, 0:01:33.741,0:01:35.780 An open letter to language. 0:01:35.780,0:01:37.225 Hey there, language, how's it going? 0:01:37.225,0:01:39.062 Don't say it's going good, language. 0:01:39.062,0:01:40.519 Say it's going well. 0:01:40.519,0:01:42.063 So, Langston Hughes[br]often used the term negro 0:01:42.063,0:01:43.776 to refer to African Americans, 0:01:43.776,0:01:45.538 and when we quote him or his poetry, 0:01:45.538,0:01:47.036 we're also going to use that term, 0:01:47.036,0:01:49.263 but we won't use it when I'm[br]talking about African Americans 0:01:49.263,0:01:50.545 or the African-American experience 0:01:50.545,0:01:51.378 because these days, 0:01:51.378,0:01:53.365 we understand that term to be offensive. 0:01:53.365,0:01:55.494 I would argue this is a[br]good thing about language. 0:01:55.494,0:01:57.260 It has the opportunity to evolve 0:01:57.260,0:01:59.135 and to become more inclusive. 0:01:59.135,0:02:01.104 In short, language, I love you, 0:02:01.104,0:02:03.501 and I'm amazed by you every day. 0:02:03.501,0:02:04.541 Sorry if that sounds creepy. 0:02:04.541,0:02:05.826 I feel like I might start singing 0:02:05.826,0:02:06.659 the song from The Bodyguard, 0:02:06.659,0:02:07.809 so I'm just gonna stop right now. 0:02:07.809,0:02:09.434 Best wishes, John Green. 0:02:09.434,0:02:11.287 Right, so the poems, essays, and novels 0:02:11.287,0:02:12.594 of the Harlem Renaissance often discuss 0:02:12.594,0:02:14.266 the so-called double consciousness 0:02:14.266,0:02:16.245 of the African-American experience, 0:02:16.245,0:02:18.613 a term coined by W.E.B. Du Bois 0:02:18.613,0:02:20.572 in his book The Souls of Black Folk 0:02:20.572,0:02:21.980 and which you might remember 0:02:21.980,0:02:23.247 from our To Kill A Mockingbird episode. 0:02:23.247,0:02:25.537 Some writers like Countee[br]Cullen and Claude McKay 0:02:25.537,0:02:27.985 used poetic forms historically associated 0:02:27.985,0:02:30.773 with European white people[br]like the Shakespearean sonnet, 0:02:30.773,0:02:32.983 the Petrarchan sonnet, and the villanelle, 0:02:32.983,0:02:35.129 which is like a very fancy sonnet. 0:02:35.129,0:02:37.429 But other writers,[br]including Langston Hughes, 0:02:37.429,0:02:38.921 chose forms based on African 0:02:38.921,0:02:41.131 and African-American folk forms, 0:02:41.131,0:02:42.813 you know, fables and spirituals, 0:02:42.813,0:02:45.007 children's rhymes and blues songs. 0:02:45.007,0:02:46.625 This is actually part[br]of modernism generally 0:02:46.625,0:02:48.754 as artists sought to[br]mix high and low culture 0:02:48.754,0:02:50.412 in an attempt to reinvent art. 0:02:50.412,0:02:53.313 Like see also Marcel[br]Duchamp putting a toilet 0:02:53.313,0:02:54.264 in an art gallery. 0:02:54.264,0:02:55.097 I should clarify 0:02:55.097,0:02:56.515 there were already[br]toilets in art galleries. 0:02:56.515,0:02:58.645 He was putting it there as art. 0:02:58.645,0:03:00.123 Anyway, let's go to the thought bubble 0:03:00.123,0:03:01.822 for some background on Langston Hughes. 0:03:01.822,0:03:03.639 Hughes was born in 1902 in Missouri 0:03:03.639,0:03:05.723 to mixed-race parents who divorced early. 0:03:05.723,0:03:06.674 He grew up in Kansas 0:03:06.674,0:03:08.265 and began to write poetry in high school 0:03:08.265,0:03:11.558 mostly because white students[br]chose him as class poet. 0:03:11.558,0:03:12.980 In his autobiography, he wrote, 0:03:12.980,0:03:15.273 "Well, everyone knows--except us-- 0:03:15.273,0:03:16.922 "that all negroes have rhythm, 0:03:16.922,0:03:18.791 "so they elected me class poet. 0:03:18.791,0:03:20.684 "I felt I couldn't let[br]my white classmates down, 0:03:20.684,0:03:23.339 "and I've been writing poetry ever since." 0:03:23.339,0:03:25.423 Hughes' father wanted him[br]to become a mining engineer, 0:03:25.423,0:03:27.371 so Hughes went to Columbia University, 0:03:27.371,0:03:29.077 but he left after his freshman year 0:03:29.077,0:03:31.315 in part because other[br]students had snubbed him 0:03:31.315,0:03:33.273 and in part because he[br]actually didn't want 0:03:33.273,0:03:34.794 to be a mining engineer. 0:03:34.794,0:03:36.489 So, he signed on to work on a boat 0:03:36.489,0:03:38.142 going more or less around the world, 0:03:38.142,0:03:39.715 returning a couple of years later, 0:03:39.715,0:03:40.548 this is true, 0:03:40.548,0:03:42.486 with a red-haired monkey named Jocko. 0:03:42.486,0:03:43.711 He didn't enjoy the trip very much, 0:03:43.711,0:03:45.635 but that might've[br]actually been a good thing 0:03:45.635,0:03:47.839 because he as wrote in his autobiography, 0:03:47.839,0:03:50.816 "My best poems were all[br]written when I felt the worst. 0:03:50.816,0:03:52.951 "When I was happy, I[br]didn't write anything," 0:03:52.951,0:03:55.567 which stands in stark contrast[br]to all the happy poets, 0:03:55.567,0:03:56.878 you know, Emily Dickinson, 0:03:56.878,0:03:59.373 Sylvia Plath, Samuel Taylor Coleridge. 0:03:59.373,0:04:02.029 Hughes aimed to write an[br]accessible, familiar language, 0:04:02.029,0:04:03.079 and in that, he was influenced 0:04:03.079,0:04:05.379 by poets like Paul Laurence Dunbar 0:04:05.379,0:04:07.931 and also people like Carl[br]Sandburg and Walt Whitman, 0:04:07.931,0:04:11.101 all of whom wrote in[br]vernacular, everyday language 0:04:11.101,0:04:12.791 in the hopes that their work could appeal 0:04:12.791,0:04:14.259 to a larger audience. 0:04:14.259,0:04:15.319 Thanks, thought bubble. 0:04:15.319,0:04:17.536 So, as Hughes wrote in a 1927 essay, 0:04:17.536,0:04:20.861 classical forms didn't support[br]the work he wanted to do. 0:04:20.861,0:04:24.210 "Certainly, the Shakespearean[br]sonnet would be no mold 0:04:24.210,0:04:25.632 "in which to express the life 0:04:25.632,0:04:27.603 "of Beale Street or Lenox Avenue, 0:04:27.603,0:04:29.734 "nor could the emotions of State Street 0:04:29.734,0:04:31.378 "be captured in rondeau. 0:04:31.378,0:04:34.034 "I am not interested in[br]doing tricks with rhymes. 0:04:34.034,0:04:38.218 "I am interested in reproducing[br]the human soul if I can." 0:04:38.218,0:04:40.407 And this is what makes Hughes[br]such an important poet. 0:04:40.407,0:04:42.747 He brilliantly combines formal poetry 0:04:42.747,0:04:44.405 with the oral tradition, 0:04:44.405,0:04:46.712 and he refuses to draw a bright line 0:04:46.712,0:04:49.019 between fine art and folk art. 0:04:49.019,0:04:50.573 Okay, in order to have[br]a better understanding 0:04:50.573,0:04:52.166 of Hughes' approach to poetry, 0:04:52.166,0:04:54.187 let's look at an early manifesto he wrote 0:04:54.187,0:04:57.173 called The Negro Artist[br]and the Racial Mountain. 0:04:57.173,0:04:59.694 In this essay, he criticizes[br]other black writers 0:04:59.694,0:05:03.753 for being too interested in[br]white culture and white forms. 0:05:03.753,0:05:06.029 He writes, "This is the[br]mountain standing in the way 0:05:06.029,0:05:08.808 "of any true negro art in America-- 0:05:08.808,0:05:11.644 "this urge within the[br]race toward whiteness, 0:05:11.644,0:05:13.814 "the desire to pour racial individuality 0:05:13.814,0:05:16.405 "into the mold of[br]American standardization, 0:05:16.405,0:05:18.243 "and to be as little negro 0:05:18.243,0:05:20.657 "and as much American as possible." 0:05:20.657,0:05:22.466 Now, some black writers,[br]like Countee Cullen, 0:05:22.466,0:05:24.656 accused Hughes of being too black. 0:05:24.656,0:05:27.246 Like in a review of Hughes'[br]first book, Cullen wrote, 0:05:27.246,0:05:30.203 "There is too much emphasis[br]on strictly negro themes." 0:05:30.203,0:05:31.381 But then again, later on, 0:05:31.381,0:05:32.828 James Baldwin would condemn Hughes 0:05:32.828,0:05:36.129 for not diving deep enough into[br]African-American experience. 0:05:36.129,0:05:37.854 Like Baldwin wrote that Hughes' poems 0:05:37.854,0:05:40.720 "take refuge finally in a fake simplicity 0:05:40.720,0:05:43.583 "in order to avoid the[br]very difficult simplicity 0:05:43.583,0:05:45.054 "of the experience." 0:05:45.054,0:05:46.192 It's hard out there for Langston Hughes. 0:05:46.192,0:05:47.963 Anyway, let's make up our own mind. 0:05:47.963,0:05:49.288 I think the best way to get a sense 0:05:49.288,0:05:51.360 of how Langston Hughes expresses himself 0:05:51.360,0:05:54.258 is probably to like actually[br]read a couple of his poems. 0:05:54.258,0:05:57.144 Let's begin with The[br]Negro Speaks of Rivers. 0:05:57.144,0:05:58.109 I've known rivers: 0:05:58.109,0:06:00.676 I've known rivers ancient as the world 0:06:00.676,0:06:04.848 and older than the flow of[br]human blood and human veins. 0:06:04.848,0:06:07.530 My soul has grown deep like the rivers. 0:06:07.530,0:06:10.171 I bathed in the Euphrates[br]when dawns were young. 0:06:10.171,0:06:13.796 I built my hut near the Congo[br]and it lulled me to sleep. 0:06:13.796,0:06:17.697 I looked upon the Nile and[br]raised the pyramids above it. 0:06:17.697,0:06:19.347 I heard the singing of the Mississippi 0:06:19.347,0:06:21.427 when Abe Lincoln went down to New Orleans, 0:06:21.427,0:06:26.032 and I've seen its muddy bosom[br]turn all golden in the sunset. 0:06:26.032,0:06:27.140 I've known rivers: 0:06:27.140,0:06:29.335 ancient, dusky rivers. 0:06:29.335,0:06:31.892 My soul has grown deep like the rivers. 0:06:31.892,0:06:33.220 Here's a bit of news[br]that will be discouraging 0:06:33.220,0:06:35.178 to most of you aspiring writers out there. 0:06:35.178,0:06:36.267 Hughes' wrote that poem 0:06:36.267,0:06:38.730 just after graduating from high school. 0:06:38.730,0:06:40.924 He was riding a train to[br]see his estranged father, 0:06:40.924,0:06:42.752 and he passed over the Mississippi. 0:06:42.752,0:06:45.677 He writes, "I began to[br]think about what that river, 0:06:45.677,0:06:49.766 "the old Mississippi, had[br]meant to negroes in the past, 0:06:49.766,0:06:52.123 "and then I began to think[br]about other rivers in our past: 0:06:52.123,0:06:55.935 "the Congo and the Niger[br]and the Nile in Africa. 0:06:55.935,0:06:57.258 "And the thought came to me, 0:06:57.258,0:06:58.503 "'I've known rivers,' 0:06:58.503,0:07:00.582 "and I put it down on[br]the back of an envelope 0:07:00.582,0:07:01.680 "I had in my pocket, 0:07:01.680,0:07:03.663 "and within the space of 10 or 15 minutes 0:07:03.663,0:07:05.671 "as the train gathered speed in the dusk, 0:07:05.671,0:07:07.337 "I had written this poem." 0:07:07.337,0:07:08.170 Are you even serious? 0:07:08.170,0:07:09.003 10 or 15 minutes? 0:07:09.003,0:07:10.685 That, what, really? 0:07:10.685,0:07:12.982 So, The Negro Speaks of[br]Rivers is in the lyric mode. 0:07:12.982,0:07:16.453 It's poetry trying to capture[br]an internal emotional state. 0:07:16.453,0:07:18.243 He uses the vision of these rivers 0:07:18.243,0:07:20.397 to transcend his immediate relationships 0:07:20.397,0:07:21.860 and connect himself instead 0:07:21.860,0:07:23.913 to all of his African forefathers, 0:07:23.913,0:07:26.399 trading the immediate for the immortal. 0:07:26.399,0:07:28.618 The repetition of "I've known[br]rivers" at the beginning 0:07:28.618,0:07:31.100 and "My soul has grown[br]deep like the rivers" 0:07:31.100,0:07:32.189 at the middle and end 0:07:32.189,0:07:35.374 gives the poem the feeling[br]of like a sermon or spiritual 0:07:35.374,0:07:37.854 in keeping with Hughes'[br]used of folk forms. 0:07:37.854,0:07:39.926 And then there's the[br]catalog of active verbs: 0:07:39.926,0:07:43.596 "I bathed," "I built,"[br]"I listened," "I looked." 0:07:43.596,0:07:45.573 Those verbs show people[br]actively participating 0:07:45.573,0:07:47.692 in human life and having agency, 0:07:47.692,0:07:50.181 that even amid oppression[br]and dehumanization, 0:07:50.181,0:07:53.482 these people were still building[br]and listening and looking. 0:07:53.482,0:07:54.847 And then in the latter part of the poem, 0:07:54.847,0:07:56.706 there are adjectives that in other poems 0:07:56.706,0:07:58.210 might be used pejoratively, 0:07:58.210,0:07:59.886 like "muddy" and "dusky," 0:07:59.886,0:08:01.844 that are linked with other adjectives, 0:08:01.844,0:08:03.584 "golden," "ancient," 0:08:03.584,0:08:05.567 that encourage us to perceive them 0:08:05.567,0:08:07.392 in a far more positive light. 0:08:07.392,0:08:09.351 So, darkness and brownness are seen 0:08:09.351,0:08:12.229 as lustrous and valuable and revered, 0:08:12.229,0:08:13.271 and I know that some of you will say, 0:08:13.271,0:08:14.559 "Oh, you're over-reading the poem. 0:08:14.559,0:08:16.034 "Hughes didn't mean any of this stuff," 0:08:16.034,0:08:18.635 to which I say it doesn't matter. 0:08:18.635,0:08:22.072 These are still interesting[br]and cool uses of language. 0:08:22.072,0:08:23.706 Although as it happens,[br]I'm not over-reading it. 0:08:23.706,0:08:26.128 Anyway, let's look at[br]one more poem, Harlem, 0:08:26.128,0:08:27.639 written in 1951. 0:08:27.639,0:08:29.419 What happens to a dream deferred? 0:08:29.419,0:08:32.052 Does it dry up like a raisin in the sun? 0:08:32.052,0:08:34.059 Or fester like a sore- 0:08:34.059,0:08:35.179 and then run? 0:08:35.179,0:08:37.481 Does it stink like rotten meat? 0:08:37.481,0:08:39.527 Or crust and sugar over- 0:08:39.527,0:08:41.150 like a syrupy sweet? 0:08:41.150,0:08:44.478 Maybe it just sags like a heavy load. 0:08:44.478,0:08:45.666 Or does it explode? 0:08:45.666,0:08:48.439 The "dream" here is likely a[br]version of the American Dream, 0:08:48.439,0:08:50.455 a dream, that at the time[br]Hughes wrote the poem, 0:08:50.455,0:08:52.696 was still denied to[br]most African Americans. 0:08:52.696,0:08:54.565 And in that sense, it's kind of optimistic 0:08:54.565,0:08:56.501 that Hughes uses the term "deferred" 0:08:56.501,0:08:58.832 rather than like[br]"destroyed" or "forbidden." 0:08:58.832,0:09:00.199 There's also a great moment earlier 0:09:00.199,0:09:02.214 in that same book of poems[br]in which Hughes writes, 0:09:02.214,0:09:03.897 "Good morning Daddy, ain't you heard, 0:09:03.897,0:09:06.595 "the boogie woogie rumble[br]of a dream deferred," 0:09:06.595,0:09:08.098 which uses the conventions of blues music 0:09:08.098,0:09:09.577 to associate the deferral of the dream 0:09:09.577,0:09:11.470 with like a "boogie woogie rumble," 0:09:11.470,0:09:13.485 but the imagery in this[br]poem is very negative. 0:09:13.485,0:09:15.256 It often takes things that are sweet, 0:09:15.256,0:09:17.493 and then makes them horrifying. 0:09:17.493,0:09:20.230 You've got dried raisins, running sores, 0:09:20.230,0:09:21.063 I guess sores aren't that sweet, 0:09:21.063,0:09:23.200 but you do have crusty sweets. 0:09:23.200,0:09:24.395 Even the verbs are negative, 0:09:24.395,0:09:28.328 "dry," "fester," "stink," "crust," "sag," 0:09:28.328,0:09:30.863 and that works against any real optimism. 0:09:30.863,0:09:32.641 This is all made even more[br]interesting and complicated 0:09:32.641,0:09:35.399 by the fact that the poem[br]sounds like a nursery rhyme. 0:09:35.399,0:09:37.983 It has neat, perfect one-syllable rhymes 0:09:37.983,0:09:39.405 like "sun" and "run," 0:09:39.405,0:09:40.436 "meat" and "sweet," 0:09:40.436,0:09:41.899 but then you have the layout of the poem, 0:09:41.899,0:09:43.403 which resists conventional stanzas, 0:09:43.403,0:09:45.427 and that troubles the simplicity here. 0:09:45.427,0:09:47.993 Also, the rhythm of the[br]poem is always changing. 0:09:47.993,0:09:50.114 Like this isn't straight iambic pentameter 0:09:50.114,0:09:50.961 or anything like that, 0:09:50.961,0:09:53.772 and that makes it hard to[br]build into a comfortable pace 0:09:53.772,0:09:54.692 as the reader. 0:09:54.692,0:09:56.203 And then there's that last line, 0:09:56.203,0:09:57.468 "Or does it explode?" 0:09:57.468,0:09:58.924 which from a meter perspective, 0:09:58.924,0:10:00.422 is totally fascinating 0:10:00.422,0:10:03.986 because there's a stress[br]on every single syllable. 0:10:03.986,0:10:04.819 Or 0:10:04.819,0:10:05.652 does 0:10:05.652,0:10:06.485 it 0:10:06.485,0:10:07.318 explode? 0:10:07.318,0:10:08.163 I don't want to get too lit-critty on you, 0:10:08.163,0:10:09.641 but it's like the last line itself 0:10:09.641,0:10:10.976 is kind of trying to explode 0:10:10.976,0:10:13.066 because there's no break, no relief. 0:10:13.066,0:10:14.780 So, the rhymes make it sound harmless, 0:10:14.780,0:10:16.093 like it's from a children's book, 0:10:16.093,0:10:18.323 but the imagery and rhythm tell another, 0:10:18.323,0:10:20.234 much more barbed story. 0:10:20.234,0:10:22.655 And this is definitely one of[br]Hughes' more political poems. 0:10:22.655,0:10:25.093 He's warning that if[br]circumstances don't change, 0:10:25.093,0:10:27.538 there might be dangerous consequences. 0:10:27.538,0:10:29.512 This poem preceded the bulk[br]of the Civil Rights Movement, 0:10:29.512,0:10:32.001 but it suggests that[br]withholding true equality 0:10:32.001,0:10:36.803 has real risks and real costs[br]to everyone in a social order. 0:10:36.803,0:10:37.979 There's so many other[br]great Langston Hughes poems 0:10:37.979,0:10:40.453 that we don't have time to[br]discuss like Dream Boogie, 0:10:40.453,0:10:41.286 I, Too, 0:10:41.286,0:10:42.119 Dream Variations, 0:10:42.119,0:10:43.522 Theme for English B. 0:10:43.522,0:10:44.955 I wanna share just one more with you, 0:10:44.955,0:10:45.817 no lit-crit or anything, 0:10:45.817,0:10:46.768 just the poem. 0:10:46.768,0:10:48.293 Folks I'm telling you, 0:10:48.293,0:10:51.073 birthing is hard and dying is mean, 0:10:51.073,0:10:52.952 so get yourself a little lovin', 0:10:52.952,0:10:54.095 in between. 0:10:54.095,0:10:55.307 See, sometimes literature's 0:10:55.307,0:10:57.438 just in the business of[br]providing good advice. 0:10:57.438,0:10:58.271 Thanks for watching. 0:10:58.271,0:10:59.887 I'll see you next week. 0:10:59.887,0:11:00.720 Crash Course is filmed 0:11:00.720,0:11:02.828 in the Chad and Stacey Emigholz Studio, 0:11:02.828,0:11:04.718 and it's made with the help[br]of all of these nice people. 0:11:04.718,0:11:07.761 It exists because of your[br]support through Subbable.com, 0:11:07.761,0:11:09.255 a voluntary subscription service 0:11:09.255,0:11:11.967 that allows you to support[br]Crash Course directly. 0:11:11.967,0:11:13.399 You can find all kind of[br]great perks on Subbable. 0:11:13.399,0:11:14.552 Thanks to all of our Subbable subscribers 0:11:14.552,0:11:17.115 for keeping Crash Course[br]free for everyone forever. 0:11:17.115,0:11:18.472 Thanks again for watching, 0:11:18.472,0:11:19.667 and as we say in my hometown, 0:11:19.667,0:11:21.463 don't forget to be awesome. 0:11:21.463,0:11:24.046 (upbeat music)