Hickory Presents Poems, Poetry, Songs, Music, Art & Artists

A short and happy 1925 jazz band style musical collaboration (American, French, and Greek) for the enjoyment of Rumble viewers and Hickory Presents Channel subscribers. At the request of Alan Massie, the musicians decided to give this to be uploaded on Rumble at Hickory Presents. It was recorded perhaps 30 years ago and they agreed with Mr. Massie that, small as it was as a piece of music, it ought to have an online home. The kazoo is played by a resident of Greece, the tuba by a Frenchman, and the guitar by a Greek. ALAN MASSIE on the kazoo PIERRE PAUL HEISER on the tuba PETROS BOTEAS on the guitar

English lyrics by Hikaru Kitabayashi. Translation by Zhang Yafei. Melody by Hikaru Kitabayashi and Zhang Yafei. Performance by Zhang Yafei. Sound editing by Hikaru Kitabayashi. Art by Tina Massie. Photography by Marisa Massie. Copyright 22 June 2023 by Hikaru Kitabayashi. There are no plans for an upload to any other video-sharing platform than Rumble.

This song sung acapella was finished by me on 19 June 2023. The song is an ethnographically inspired literal translation of the verses twenty four through thirty one of the first chapter of Genesis, the sixth paragraph according to the Masoretic text of the Hebrew Bible which, in Biblical Hebrew, is as follows: וַיֹּאמֶר אֱלֹהִים תּוֹצֵא הָאָרֶץ נֶפֶשׁ חַיָּה לְמִינָהּ בְּהֵמָה וָרֶמֶשׂ וְחַיְתוֹ־אֶרֶץ לְמִינָהּ וַיְהִי־כֵן וַיַּעַשׂ אֱלֹהִים אֶת־חַיַּת הָאָרֶץ לְמִינָהּ וְאֶת־הַבְּהֵמָה לְמִינָהּ וְאֵת כָּל־רֶמֶשׂ הָאֲדָמָה לְמִינֵהוּ וַיַּרְא אֱלֹהִים כִּי־טוֹב וַיֹּאמֶר אֱלֹהִים נַעֲשֶׂה אָדָם בְּצַלְמֵנוּ כִּדְמוּתֵנוּ וְיִרְדּוּ בִדְגַת הַיָּם וּבְעוֹף הַשָּׁמַיִם וּבַבְּהֵמָה וּבְכָל־הָאָרֶץ וּבְכָל־הָרֶמֶשׂ הָרֹמֵשׂ עַל־הָאָרֶץ וַיִּבְרָא אֱלֹהִים אֶת־הָאָדָם בְּצַלְמוֹ בְּצֶלֶם אֱלֹהִים בָּרָא אֹתוֹ זָכָר וּנְקֵבָה בָּרָא אֹתָם וַיְבָרֶךְ אֹתָם אֱלֹהִים וַיֹּאמֶר לָהֶם אֱלֹהִים פְּרוּ וּרְבוּ וּמִלְאוּ אֶת־הָאָרֶץ וְכִבְשֻׁהָ וּרְדוּ בִּדְגַת הַיָּם וּבְעוֹף הַשָּׁמַיִם וּבְכָל־חַיָּה הָרֹמֶשֶׂת עַל־הָאָרֶץ וַיֹּאמֶר אֱלֹהִים הִנֵּה נָתַתִּי לָכֶם אֶת־כָּל־עֵשֶׂב זֹרֵעַ זֶרַע אֲשֶׁר עַל־פְּנֵי כָל־הָאָרֶץ וְאֶת־כָּל־הָעֵץ אֲשֶׁר־בּוֹ פְרִי־עֵץ זֹרֵעַ זָרַע לָכֶם יִהְיֶה לְאָכְלָה לְכָל־חַיַּת הָאָרֶץ וּלְכָל־עוֹף הַשָּׁמַיִם וּלְכֹל רוֹמֵשׂ עַל־הָאָרֶץ אֲשֶׁר־בּוֹ נֶפֶשׁ חַיָּה אֶת־כָּל־יֶרֶק עֵשֶׂב לְאָכְלָה וַיְהִי־כֵן וַיַּרְא אֱלֹהִים אֶת־כָּל־אֲשֶׁר עָשָׂה וְהִנֵּה־טוֹב מְאֹד וַיְהִי־עֶרֶב וַיְהִי־בֹקֶר יוֹם הַשִּׁשִּׁי פ http://www.qbible.com/hebrew-old-testament/genesis/1.html As ethnography aims at understanding a people through their own eyes and ears at a particular point in their history, this translation strove to provide a translation that, to the extent this might be possible, would exactly convey the meaning the words of this text had for the first people who encountered it, either in writing or listening. The translation, thus, ignores over 2000 years of Biblical interpretation, both Jewish and Christian and makes a best effort to let the words speak for themselves. The translation is sung because the translation, due to the repetitive nature of its phraseology, lends itself more to song than to normal recitation. However, as the language of the translation is English, it is sung according to the traditions imposed on song by English rhythmic structures. Accordingly, it could not be rendered in English in the manner of Hebrew and so, in this regard, no effort was made to do so. Nevertheless, I cannot help but think that the joyous nature of the content was, to a certain extent, respected in the choice of the melody used when sung. Rumble is the only video sharing platform to which there are any plans for an upload.

This song sung acapella was finished by me on 19 June 2023. The song is an ethnographically inspired literal translation of the verses twenty through twenty three of the first chapter of Genesis, the fifth paragraph according to the Masoretic text of the Hebrew Bible which, in Biblical Hebrew, is as follows: וַיֹּאמֶר אֱלֹהִים יִשְׁרְצוּ הַמַּיִם שֶׁרֶץ נֶפֶשׁ חַיָּה וְעוֹף יְעוֹפֵף עַל־הָאָרֶץ עַל־פְּנֵי רְקִיעַ הַשָּׁמָיִם וַיִּבְרָא אֱלֹהִים אֶת־הַתַּנִּינִם הַגְּדֹלִים וְאֵת כָּל־נֶפֶשׁ הַחַיָּה הָרֹמֶשֶׂת אֲשֶׁר שָׁרְצוּ הַמַּיִם לְמִינֵהֶם וְאֵת כָּל־עוֹף כָּנָף לְמִינֵהוּ וַיַּרְא אֱלֹהִים כִּי־טוֹב וַיְבָרֶךְ אֹתָם אֱלֹהִים לֵאמֹר פְּרוּ וּרְבוּ וּמִלְאוּ אֶת־הַמַּיִם בַּיַּמִּים וְהָעוֹף יִרֶב בָּאָרֶץ וַיְהִי־עֶרֶב וַיְהִי־בֹקֶר יוֹם חֲמִישִׁי פ http://www.qbible.com/hebrew-old-testament/genesis/1.html As ethnography aims at understanding a people through their own eyes and ears at a particular point in their history, this translation strove to provide a translation that, to the extent this might be possible, would exactly convey the meaning the words of this text had for the first people who encountered it, either in writing or listening. The translation, thus, ignores over 2000 years of Biblical interpretation, both Jewish and Christian and makes a best effort to let the words speak for themselves. The translation is sung because the translation, due to the repetitive nature of its phraseology, lends itself more to song than to normal recitation. However, as the language of the translation is English, it is sung according to the traditions imposed on song by English rhythmic structures. Accordingly, it could not be rendered in English in the manner of Hebrew and so, in this regard, no effort was made to do so. Nevertheless, I cannot help but think that the joyous nature of the content was, to a certain extent, respected in the choice of the melody used when sung. Rumble is the only video sharing platform to which there are any plans for an upload.

This song sung acapella was finished by me on 19 June 2023. The song is an ethnographically inspired literal translation of the verses fourteen through nineteen of the first chapter of Genesis, the fourth paragraph according to the Masoretic text of the Hebrew Bible which, in Biblical Hebrew, is as follows: וַיֹּאמֶר אֱלֹהִים יְהִי מְאֹרֹת בִּרְקִיעַ הַשָּׁמַיִם לְהַבְדִּיל בֵּין הַיּוֹם וּבֵין הַלָּיְלָה וְהָיוּ לְאֹתֹת וּלְמוֹעֲדִים וּלְיָמִים וְשָׁנִים וְהָיוּ לִמְאוֹרֹת בִּרְקִיעַ הַשָּׁמַיִם לְהָאִיר עַל־הָאָרֶץ וַיְהִי־כֵן וַיַּעַשׂ אֱלֹהִים אֶת־שְׁנֵי הַמְּאֹרֹת הַגְּדֹלִים אֶת־הַמָּאוֹר הַגָּדֹל לְמֶמְשֶׁלֶת הַיּוֹם וְאֶת־הַמָּאוֹר הַקָּטֹן לְמֶמְשֶׁלֶת הַלַּיְלָה וְאֵת הַכּוֹכָבִים וַיִּתֵּן אֹתָם אֱלֹהִים בִּרְקִיעַ הַשָּׁמָיִם לְהָאִיר עַל־הָאָרֶץ וְלִמְשֹׁל בַּיּוֹם וּבַלַּיְלָה וּלֲהַבְדִּיל בֵּין הָאוֹר וּבֵין הַחֹשֶׁךְ וַיַּרְא אֱלֹהִים כִּי־טוֹב וַיְהִי־עֶרֶב וַיְהִי־בֹקֶר יוֹם רְבִיעִי פ http://www.qbible.com/hebrew-old-testament/genesis/1.html As ethnography aims at understanding a people through their own eyes and ears at a particular point in their history, this translation strove to provide a translation that, to the extent this might be possible, would exactly convey the meaning the words of this text had for the first people who encountered it, either in writing or listening. The translation, thus, ignores over 2000 years of Biblical interpretation, both Jewish and Christian and makes a best effort to let the words speak for themselves. The translation is sung because the translation, due to the repetitive nature of its phraseology, lends itself more to song than to normal recitation. However, as the language of the translation is English, it is sung according to the traditions imposed on song by English rhythmic structures. Accordingly, it could not be rendered in English in the manner of Hebrew and so, in this regard, no effort was made to do so. Nevertheless, I cannot help but think that the joyous nature of the content was, to a certain extent, respected in the choice of the melody used when sung. Rumble is the only video sharing platform to which there are any plans for an upload.

This song sung acapella was finished by me on 18 June 2023. The song is an ethnographically inspired literal translation of the verses nine through thirteen of the first chapter of Genesis, the third paragraph according to the Masoretic text of the Hebrew Bible which, in Biblical Hebrew, is as follows: וַיֹּאמֶר אֱלֹהִים יִקָּווּ הַמַּיִם מִתַּחַת הַשָּׁמַיִם אֶל־מָקוֹם אֶחָד וְתֵרָאֶה הַיַּבָּשָׁה וַיְהִי־כֵן וַיִּקְרָא אֱלֹהִים לַיַּבָּשָׁה אֶרֶץ וּלְמִקְוֵה הַמַּיִם קָרָא יַמִּים וַיַּרְא אֱלֹהִים כִּי־טוֹב וַיֹּאמֶר אֱלֹהִים תַּדְשֵׁא הָאָרֶץ דֶּשֶׁא עֵשֶׂב מַזְרִיעַ זֶרַע עֵץ פְּרִי עֹשֶׂה פְּרִי לְמִינוֹ אֲשֶׁר זַרְעוֹ־בוֹ עַל־הָאָרֶץ וַיְהִי־כֵן וַתּוֹצֵא הָאָרֶץ דֶּשֶׁא עֵשֶׂב מַזְרִיעַ זֶרַע לְמִינֵהוּ וְעֵץ עֹשֶׂה־פְּרִי אֲשֶׁר זַרְעוֹ־בוֹ לְמִינֵהוּ וַיַּרְא אֱלֹהִים כִּי־טוֹב וַיְהִי־עֶרֶב וַיְהִי־בֹקֶר יוֹם שְׁלִישִׁי פ http://www.qbible.com/hebrew-old-testament/genesis/1.html As ethnography aims at understanding a people through their own eyes and ears at a particular point in their history, this translation strove to provide a translation that, to the extent this might be possible, would exactly convey the meaning the words of this text had for the first people who encountered it, either in writing or listening. The translation, thus, ignores over 2000 years of Biblical interpretation, both Jewish and Christian and makes a best effort to let the words speak for themselves. The translation is sung because the translation, due to the repetitive nature of its phraseology, lends itself more to song than to normal recitation. However, as the language of the translation is English, it is sung according to the traditions imposed on song by English rhythmic structures. Accordingly, it could not be rendered in English in the manner of Hebrew and so, in this regard, no effort was made to do so. Nevertheless, I cannot help but think that the joyous nature of the content was, to a certain extent, respected in the choice of the melody used when sung. Rumble is the only video sharing platform to which there are any plans for an upload.

This song sung acapella, the first of a series of six (see the second, third, fourth, fifth and sixth), was finished by me on 17 June 2023. The song is an ethnographically inspired literal translation of the verses six through eight of the first chapter of Genesis, the second paragraph according to the Masoretic text of the Hebrew Bible which, in Biblical Hebrew, is as follows: וַיֹּאמֶר אֱלֹהִים יְהִי רָקִיעַ בְּתוֹךְ הַמָּיִם וִיהִי מַבְדִּיל בֵּין מַיִם לָמָיִם וַיַּעַשׂ אֱלֹהִים אֶת־הָרָקִיעַ וַיַּבְדֵּל בֵּין הַמַּיִם אֲשֶׁר מִתַּחַת לָרָקִיעַ וּבֵין הַמַּיִם אֲשֶׁר מֵעַל לָרָקִיעַ וַיְהִי־כֵן וַיִּקְרָא אֱלֹהִים לָרָקִיעַ שָׁמָיִם וַיְהִי־עֶרֶב וַיְהִי־בֹקֶר יוֹם שֵׁנִי פ http://www.qbible.com/hebrew-old-testament/genesis/1.html As ethnography aims at understanding a people through their own eyes and ears at a particular point in their history, this translation strove to provide a translation that, to the extent this might be possible, would exactly convey the meaning the words of this text had for the first people who encountered it, either in writing or listening. The translation, thus, ignores over 2000 years of Biblical interpretation, both Jewish and Christian and makes a best effort to let the words speak for themselves. The translation is sung because the translation, due to the repetitive nature of its phraseology, lends itself more to song than to normal recitation. However, as the language of the translation is English, it is sung according to the traditions imposed on song by English rhythmic structures. Accordingly, it could not be rendered in English in the manner of Hebrew and so, in this regard, no effort was made to do so. Nevertheless, I cannot help but think that the joyous nature of the content was, to a certain extent, respected in the choice of the melody used when sung. Rumble is the only video sharing platform to which there are any plans for an upload.

This song sung acapella, the first of six (see the 2nd (https://rumble.com/v2us8kx-genesis-16-8-the-song-of-the-creation-on-the-second-day.html), 3rd (https://rumble.com/v2ux27s-genesis-19-13-the-song-of-the-creation-on-the-third-day.html), 4th (https://rumble.com/v2v596b-genesis-114-19-the-song-of-the-creation-on-the-fourth-day.html), 5th (https://rumble.com/v2v5cd4-genesis-120-23-the-song-of-the-creation-on-the-sixth-day.html) & 6th (https://rumble.com/v2v5hgg-genesis-124-31-the-song-of-the-creation-on-the-sixth-day.html)) was finished by me on 15 June 2023. The song is an ethnographically inspired literal translation of the first five verses of Genesis (the first paragraph according to the Masoretic text of the Hebrew Bible which, in Biblical Hebrew, is as follows: בְּרֵאשִׁית בָּרָא אֱלֹהִים אֵת הַשָּׁמַיִם וְאֵת הָאָרֶץ וְהָאָרֶץ הָיְתָה תֹהוּ וָבֹהוּ וְחֹשֶׁךְ עַל־פְּנֵי תְהוֹם וְרוּחַ אֱלֹהִים מְרַחֶפֶת עַל־פְּנֵי הַמָּיִם וַיֹּאמֶר אֱלֹהִים יְהִי אוֹר וַיְהִי־אוֹר וַיַּרְא אֱלֹהִים אֶת־הָאוֹר כִּי־טוֹב וַיַּבְדֵּל אֱלֹהִים בֵּין הָאוֹר וּבֵין הַחֹשֶׁךְ וַיִּקְרָא אֱלֹהִים לָאוֹר יוֹם וְלַחֹשֶׁךְ קָרָא לָיְלָה וַיְהִי־עֶרֶב וַיְהִי־בֹקֶר יוֹם אֶחָד פ http://www.qbible.com/hebrew-old-testament/genesis/1.html As ethnography aims at understanding a people through their own eyes and ears at a particular point in their history, this translation strove to provide a translation that, to the extent this might be possible, would exactly convey the meaning the words of this text had for the first people who encountered it, either in writing or listening. The translation, thus, ignores over 2000 years of Biblical interpretation, both Jewish and Christian and makes a best effort to let the words speak for themselves. The translation is sung because the translation, due to the repetitive nature of its phraseology, lends itself more to song than to normal recitation. However, as the language of the translation is English, it is sung according to the traditions imposed on song by English rhythmic structures. Accordingly, it could not be rendered in English in the manner of Hebrew and so, in this regard, no effort was made to do so. Nevertheless, I cannot help but think that the joyous nature of the content was, to a certain extent, respected in the choice of the melody used when sung. Rumble is the only video sharing platform to which there are any plans for an upload.

I have always found the national anthem of the United States extremely difficult to sing well. One of the advantages of becoming an old man is that I can now clearly see that I am not unique, neither in this aspect of my life or any other, for that matter. With this in mind, I decided to re-imagine this song in a way that it would be possible for an ordinary person to sing without difficulty. I came up with a new melody on 17 May 2023 to which I recorded the song then. I created today (18 May 2023) the video I am now uploading. I don't expect the video to achieve great popularity, but I do hope it might eventually stimulate others with more talent than me in a similar direction. Like the video, the graphics design and the performance are mine. The lyrics are, of course, by Francis Scott Key, and are in the public domain. I have a fairly dormant YouTube channel, but have no plans to upload this video other than to Rumble.

A friend challenged me to write a Father's Day song, using persimmons as the main image. It was meant as a joke, but I decided the challenge was an interesting one so I did so. I finished the lyrics on 10 May 2023 and the vocals and video editing on 11 May 2023. Father's Day is far less popular than Mother's Day in most of the world, so there is no expectation that a song sung acapella whose lyrics consist of three classical French style triolets will ever become popular. But, I am uploading it anyway because it has meaning for me and probably reflects the complex feeling many men have toward their fathers. The artwork, lyrics, melody, singing and editing are all my work and, accordingly, the copyright is entirely mine. This video is meant to be exclusively for my Rumble "Hickory Presents" channel.

This based on a song I uploaded to YouTube in various versions and in various languages on various channels, mine as well as on channels of friends. I recently came across the original pre-edited voice tracks and the music track demo. Listening to them, I decided to edit the voice tracks and the music track demo into a much shorter song conveying a very different message. I edited and remastered the song, creating a new song a good bit less than one half the length of what I did two years ago. Moreover, to reflect its new nature, I decided not to use the old name of "Daddy's Ox Trot". Instead, I renamed it "Daddy's Cattle: A South Asian Cowboy's Song" and, to emphasize its separate identity, have no plans to upload to YouTube. The artwork was commissioned by me from a Nepali artist and the copyright for this, too, is mine. It is recycled from "Daddy's Ox Trot", though also edited so that it better fits the new song and, in its details, is not the same as what appears elsewhere. The copyright for "Daddy's Cattle: A South Asian Cowboy's Song", as well as for all versions of Daddy's Ox Trot on all YouTube channels on which that song appears belongs solely to me. This song is meant to replicate the perspective of the fast disappearing rural cultures of the Hindu, Buddhist, and Animist regions of South and Southeast Asia.

The lyrics to this song were written in February of 2002 and were recorded on a tape recorder at the same time. In 2020, the tape recording was digitized and forgotten about. Finding it on 28 April 2023, I remastered the recording on 29 April 2023 as a song of gratitude for the care my father showed in trying to raise me. The photograph is of me 66 years ago. Rumble is the only video-sharing platform this is being uploaded to.

Being 72, both my parents passed away a long time ago and I am now older than either of them at their death. Nevertheless, Mother's Day, in particular, always brings back my mother to my mind as surely as if she were standing beside me with my father. And, the feeling of nostalgia is not just limited to Mother's Day. I find that her imprint on my psyche is with me everyday of my life. For this reason, I wrote this Mother's Day triolet on 29 May 2022 with the same structure as a traditional fixed-form French triolet. The melody to which I sing the triolet acapella as a song was created by me at the same time. The photograph that appears is that of my mother, father, younger sister, and me some 70 years ago. I uploaded a different version to YouTube with a different image in 2022 (https://youtu.be/yc66XhfIZbQ ). However, becoming dissatisfied with it, I remastered the sound track and changed the image and placement of the poem's text on the 18th and 19th of April, 2023. Not wishing to delete what I already have a copyright to that is on YouTube, but considering this version to be significantly better, I decided to upload it to Rumble only. The video edit as well as the acapella singing of the triolet in both the YouTube version and the Rumble version were also both done by myself with no input by anyone else.

The lyrics to this song were written on 25 February 2023. Each of the three verses is what I call a dragonette, a type of Japanese used by Tatsu Kushibuchi, a woman who was already over 80 years old when I first met her 40 years ago. The dragonette consists of five lines like a tanka, but its syllabification is 5-5-6-7-7. I recorded this acapella on 20 March 2023. I edited as a music video on 25 March 2023. It has not been uploaded to any other video sharing service and there are no present plans to do.

Wayne, a long cherished friend, died suddenly on 18 March 2023. On 19 March 2023, I wrote an elegy in the form of a triolet to mourn his passing. On 20 March 2023, I made an acapella recording of the elegy as a song. I edited this as a video on 25 March 2023. The image used is from several years ago and is one of me standing and Wayne sitting. There is no YouTube upload and no present intention to make one.

This work which has been uploaded was written, sung, and edited into a short video by me, Hikaru Kitabayashi, today on 22 March 2023. The picture used in the video is one of me taken 45 years ago. The copyright belongs to me in full and there is no current plan to upload the video elsewhere.

This video's free-style triolets were written on the 13th of April 2022 by Hikaru Kitabayashi. The singing of the tale is also by Hikaru Kitabayashi. The artwork is by Tadashi Kushibuchi. The video editing was by Hikaru Kitabayashi and the copyright to this production is owned by him. Its YouTube URL is https://youtu.be/D2KGsnRvlw0.

The video was created on 10 February 2023. The lyrics are a triple Clerihew poem envisioning Saint Patrick encouraging Irish people to remember that they are blessed with shamrocks and four-leaf clover and that they should find their good luck and drink their Guiness in Ireland and not in England. The artwork is by Qbu Kushibuchi. The lyricist, singer, video editor, and copyright holder are all Hikaru Kitabayashi, a now happily retired 72 year old, Japanese university professor emeritus.

Edgar Allan Poe's "The Raven". The most famous English poem of the 19th century. All 18 stanzas sung as songs. Nigerian music arrangement and sound engineering at Octave Studio (Ibadan, Nigeria). Nepali Artwork by Prem Magar. Translation into Hindi and video editing by Bijay Thapa. Director, Noboru Suzuki (Japan). Composer and Singer, Hikaru Kitabayashi (Japan). Japanese Production Coordination, Hickory G.K. Nigerian Production Coordination, Hakeem Sule. Copyright 2022, Hikaru Kitabayashi. 00:00 Stanza Divisions 00:29 Stanzaー1 01:10 Stanzaー2 02:05 Stanzaー3 03:04 Stanzaー4 03:48 Stanzaー5 04:43 Stanzaー6 05:32 Stanzaー7 06:14 Stanzaー8 07:02 Stanzaー9 07:53 Stanzaー10 08:52 Stanzaー11 09:56 Stanzaー12 10:52 Stanzaー13 11:43 Stanzaー14 12:32 Stanzaー15 13:40 Stanzaー16 14:39 Stanzaー17 15:28 Stanzaー18

The video's song (copyright 2022 by me, Hikaru Kitabayashi) is meant to be taken as a parody of the "like, share, comment and subscribe" phrase which appears in almost every video seen now on video sharing platforms. It is my way of making fun of myself, as a part of this ecosystem that currently exists. In doing so, I hope that people will not only be laughing at me, but also with me.

The subtitles represent the first complete translation of Edgar Allan Poe's "The Raven" into the Nepali language. The most famous English poem of the 19th century. All 18 stanzas sung as songs. Nigerian music arrangement and sound engineering at Octave Studio (Ibadan, Nigeria). Nepali Artwork by Prem Magar. Translation into Nepali and video editing by Bijay Thapa. Director, Noboru Suzuki (Japan). Composer and Singer, Hikaru Kitabayashi (Japan). Japanese Production Coordination, Hickory G.K. Nigerian Production Coordination, Hakeem Sule. Copyright 2022, Hikaru Kitabayashi. 00:00 Stanza Divisions 00:28 Stanzaー1 01:11 Stanzaー2 02:07 Stanzaー3 03:05 Stanzaー4 03:49 Stanzaー5 04:44 Stanzaー6 05:33 Stanzaー7 06:14 Stanzaー8 07:03 Stanzaー9 07:53 Stanzaー10 08:53 Stanzaー11 09:57 Stanzaー12 10:53 Stanzaー13 11:44 Stanzaー14 12:33 Stanzaー15 13:40 Stanzaー16 14:40 Stanzaー17 15:29 Stanzaー18

A Christmas carol and original piece of Christmas music by Hikaru Kitabayashi and Steven Morgan, an American musician. The Yoruba lyrics were based on a translation into Yoruba of English lyrics written by Hikaru Kitabayashi. Music arrangement is Nigerian. The singer is Dolapo Faith Sule. The Nigerian co-ordinator is Hakeem Sule. The artwork is by the Nepali artist Prem Magar. The video production was done in Japan. The copyright belongs to Hikaru Kitabayashi.

This video whose copyright belongs to me, Hikaru Kitabayashi, presents a song whose lyrics were written and performed by me, being put to Christmas music that was that was composed by me, revised in part by the American music composer, Dr. Steven Morgan, and was given an African music overlay by Nigerian artists. The name Saint Nicholas is used instead of Santa Claus because (1) the original template for the modern day Santa Claus comes almost entirely from "A Visit from St. Nicholas", a poem by the 19th century writer by Clement Moore and because (2) we consider the image of Saint Nicholas to be less heavily commercialized than that of Santa Claus. The song is designed with the purpose of giving a bit of encouragement to those who are feeling depressed or otherwise down and out.

This video was designed with teachers and students of American literature in mind. As a song, it was composed by Hikaru Kitabayashi to allow him to sing the complete lyrics of Edgar Allan Poe's "The Raven". The musical arrangement and sound engineering were done at Octave Studio of Ibadan, Nigeria. The artwork was done by a Nepalese artist, Prem Magar. The director was Noboru Suzuki. The video editing and final music/singing mix was done by Bijay Thapa. The video was commissioned by Hikaru Kitabayashi and the copyright (2022) belongs to him.

This video pokes fun at a historical fact, being that king Henry VIII of England had many wives (six) and that he had a great ability for self-deception. The clerihew poem was written by Hikaru Kitabayashi and sung by him acapella as the background audio of this video. The artwork and video editing was also done by Hikaru Kitabayashi and the video was finished in early May.