@JAKE IN AN EFFORT TO GET YOU PASS THE HOOPING AND HOLLOWING PERIODS IN BIAHISTORY LETS LOOK AT WHAT YOU MAY C
ALL 'DECENT / QUIET WHITE FOLKS MUSIC" ...JAKE BECAUSE IT IS DIRECTLY TIED TO ANOTHER WHITE ACCEPTED, BUT THEY CAN'T STEAL FOR THEIR OWN MUSIC STYLE... J-A-Z-Z...YOU SEEJAKE WE INVENTED BALL ROOM MUSIC AND DANCING ALSO...AND HERE IS WHERE COMES REV. J.W'S SPEECH ON C-SPAN AND BIA MUSIC STUDY CLASS' COME IN TO BACKING REV. WRIGHT (AND MINISTER FARRAKHAN, MALCOM X) UP ON DUE TO OUR BRAIN MAKE UP WE DANCE TO A DIFFERENT DRUMMER...
ANYWAY JAKE 4 MUSICIANS WHO WER E FED UP WITH WHITE'S STEALING OUR UNIQUE MUSIC ...JAKE YOU KNOW LIKE ROCK AND ROLL AND RAP COUNTRY AND WESTERN , ECT.TO EITHER STEAL IT AS THEIR VERY OWN OR CONDEMN IT...
ANYWAY THESE MUSICIANS KNOWING WHITE PEOPLE DON'T HEAR THE SAME MUSIC BEAT AS US THE 4-4 BEAT, CAME UP WITH JAZZ, AND SO FAR THE WHITE PEOPLE HAVE NOT BEEN ABLE TOGET OUR 4-4 BEAT IN JAZZ TO BE ABLE TO STEAL OR CONDEMN IT...
I REPEAT SOME LIKE YOU AND JEN HAVE BEEN TAUGHT TO TEACH THE NEGATIVES/ DISTRUCTION OF US NO GOOD BIA ...BUT NOT ALL OF US. (OTFLM PROUD BLACKAO)(S-M-I-L-E)
LOV YA A-L-L...
ANYWAY JAKE 4 MUSICIANS WHO WER E FED UP WITH WHITE'S STEALING OUR UNIQUE MUSIC ...JAKE YOU KNOW LIKE ROCK AND ROLL AND RAP COUNTRY AND WESTERN , ECT.TO EITHER STEAL IT AS THEIR VERY OWN OR CONDEMN IT...
ANYWAY THESE MUSICIANS KNOWING WHITE PEOPLE DON'T HEAR THE SAME MUSIC BEAT AS US THE 4-4 BEAT, CAME UP WITH JAZZ, AND SO FAR THE WHITE PEOPLE HAVE NOT BEEN ABLE TOGET OUR 4-4 BEAT IN JAZZ TO BE ABLE TO STEAL OR CONDEMN IT...
I REPEAT SOME LIKE YOU AND JEN HAVE BEEN TAUGHT TO TEACH THE NEGATIVES/ DISTRUCTION OF US NO GOOD BIA ...BUT NOT ALL OF US. (OTFLM PROUD BLACKAO)(S-M-I-L-E)
LOV YA A-L-L...
The narrative of white people stealing Black music is well-established, and the fact that it's a bit more complicated than that (for example, "Hound Dog," famously stolen from Big Mama Thornton by Elvis Presley, was written by the white Jews Jerry Leiber and Mike Stoller) makes it no less reprehensible, no less of a stain. And of course it isn't just limited to the theft of rock and roll rhythm and blues.
The problem comes in when certain powerful white people--record station owners, say, or promoters, or whoever--decide to steal the legitimacy. Going back to the example of The Beatles, the instant they hit, through no (conscious) fault of their own, "rock and roll" became something white people do. Black people might make soul music or funk music or whatever (all perfectly legitimate labels, created by the Black musicians themselves, describing what they were doing very well indeed), but it was no longer considered "rock and roll" for no good reason other than the race of the artist. "Coincidentally," right around this time a pop music auteur cult grew up around the white bands and singers, shepherded by white corporate executives and magazine writers, all focused on establishing the legitimacy of rock and roll as art at the expense of things deemed not rock and roll--that is, white music at the expense of Black music.