ADOS Inspired AFROBEAT | Fela Kuti Admits He Found His Blackness In America Through ADOS

[96Blue]

EDIT: Come to find out Africans didn't even want to wear Dashikis til they saw us wearing them.

 

[Secure Da Bag]

I was about to call bullshyt. But now I'm :weebeyanime:.

 

[Premeditated]

the older afro beat. absolutely.

but modern afrobeat is mostly dancehall influence now

and yes, I know dancehall had some hip hop elements

 

[Secure Da Bag]

the older afro beat. absolutely.

but modern afrobeat is mostly dancehall influence now

and yes, I know dancehall had some hip hop elements

We make beautiful music, brehs. We should all be proud and big up each other.

 

[K.O.N.Y]

the older afro beat. absolutely.

but modern afrobeat is mostly dancehall influence now

and yes, I know dancehall had some hip hop elements

Hip hop and American "urban" signature's are written all over both of them

 

[Premeditated]

Hip hop and American "urban" signature's are written all over both of them

no it's not

 

[SupaDupaFresh]

Some people are so insecure it's almost amazing.

You mean black people all over the world, throughout time, regardless of their ethnic or cultural background, shared cultural exchanges in music that cross-influenced one another?

Another shocking expose by the ADOS intellects.

 

[SupaDupaFresh]

Consider this. Thom Bell one of the CREATORS of Philadelphia Soul music in the late 1960s and 1970s was born in Kingston, Jamaica.

He produced or wrote (or both) some of the greatest songs for of that era. Music that most of these idiotic "ADOS" proponents would especially distinguish from "foreigners," and consider to be a staple of "our culture" and "our people." Songs like La-La (Means I Love You), Could it Be I'm Falling in Love, I'll Be Around, and You Make Me Feel Brand New among so much others. Songs your parents, Uncles, Aunts, grandparents, love dearly as part of black American culture. All produced and written by a Jamaican. Just like the first Hip Hop DJ was Jamaican, and so many of the great Hip Hop pioneers were Caribbean.

Can I expect more woke black people vs. other plack people YouTube Do you see anyone running around claiming Jamaicans influenced or created Philadelphia Soul and everything that followed it? Is anyone claiming the Stylistics, The Spinners, The Delfonics

There are countless examples like this of non-American black artists coming to America and having tremendous influence on black American culture and music. Just as there were countless cultural exchanges between black American artists and producers who traveled to Africa, Europe, and the Caribbean and did incredible work with the people there that even gave birth to new genres.

The point is black music has ALWAYS been a worldwide cultural exchange. I do not understand this FALSE revisionist history being peddled by dumb ass, fake woke, divisive "ADOS" YouTubers that there was no exchange between black people musically or culturally until the beginning of the 21st century, to which all the "foreigners" gathered around to emulate African Americans. This is pure nonsense. A bunch of useless ego stroking for people who desperately need some sense of pride and empowerment in their lives. Black people--Americans, Caribbeans, Europeans, Africans--have been exchanging music ideas and art forms since your parents were born. This is why I could never take seriously YouTubers as a reliable source of facts or information and I pity this next generation that think they're being educated by these videos. Just idiots spreading misinformation for an ignorant audience. Black folks weren't competing with each other back in the day for some type of cultural domination. We got together and made great music. Period.

 

[IllmaticDelta]

the older afro beat. absolutely.

but modern afrobeat is mostly dancehall influence now

and yes, I know dancehall had some hip hop elements

I would say modern afrobeat has dancehall rhythms but the vocalizations/harmonies/production style owe alot to R&B/Hiphop, even EDM (house music) (afrobeatz most direct antecedent was HipLife and Funky House) to a degree. See thread

https://www.thecoli.com/threads/bac...ern-african-music.495558/page-4#post-22436641

Afrobeats

Afrobeats (a term also sometimes used to denote popular Nigerian and Ghanaian music, hiplife, or Afropop) is an emerging genre: drawing from broad continental and diasporic sounds.[9][10] The new genre seeks inspiration from Afrobeat, hiplife, R&B, house music, Jamaican dancehall, as well as various local musics.[11] According to David Drake, the eclectic genre “reimagines diasporic influences and—more often than not—completely reinvents them.”[12] However, some caution against equating Afrobeats to contemporary pan-African music, in order to prevent the erasure of local musical contributions.[13]

Afrobeats is primarily produced between Lagos, Accra, and London. Paul Gilroy, of The Black Atlantic, reflects on the changing London music scene as a result of shifting demographics:

"We are moving towards an African majority which is diverse both in its cultural habits and in its relationship to colonial and postcolonial governance, so the shift away from Caribbean dominance needs to be placed in that setting. Most of the grime folks are African kids, either the children of migrants or migrants themselves. It's not clear what Africa might mean to them"[9]

Many first and second generation African immigrants follow - and produce - Afrobeats music. Fuse ODG, a UK artist of Ghanaian descent, coins #TINA or This is New Africa as a means to change perceptions of Africa:

"This movement will shed light on Africa in a positive way and focus on how we can improve Africa. It’s not about just plying your talents in the Western world; it’s about going back home and helping Africa."[9]

The rise of Afrobeats

It's the new sound of the UK underground, reworking the African pop of Fela Kuti for kids reared on grime, hip-hop and funky house. With stars like Kanye West wanting in, just how big will it get?

Abrantee's neologism describes a new sound – a 21st-century melting pot of western rap influences, and contemporary Ghanaian and Nigerian pop music – but it didn't drop out of a clear blue sky. "I've been playing this music to three or four thousand people at African events in the UK for years," he explains. "Things like the Ghana Independence celebrations or the Hiplife festival at the O2 in London last year. Bringing it to the mainstream is a different ball game, though – D'Banj getting played on New Year's Eve at the Thames, that kind of certifies it now – this is serious! For years we've had amazing hiplife, highlife, Nigerbeats, juju music, and I thought: you know what, let's put it all back together as one thing again, and call it Afrobeats, as an umbrella term. Afrobeat, the 60s music, was more instrumental – this Afrobeats sound is different, it's intertwined with things like hip-hop and funky house, and there's more of a young feel to it."

The rise of Afrobeats


African beats are back, under new management

Nigerian and Ghanaian artists are inspiring a crossover of African rhythms, hip-hop and dancehall. Now Wyclef Jean and Sean Paul are getting in on the act

A new sound is bringing sunny positivity to the charts thanks to the input of African and African-heritage artists. Pop-dance hits with links to Nigeria and Ghana have been enjoying both high placings and longevity – a sign that something significant is taking place.

This phenomenon has acquired a name – Afrobeats – to differentiate the fusion of polished house/R&B production, Jamaican dancehall and African rhythms from the classic big-band Afrobeat purveyed by the likes of Fela Kuti. It is a multifarious scene that encompasses both first-generation British talents and African producers with their increasing ambitions to reach into global markets.

It has been bubbling up for a couple of years, though this month sees releases from two key players – Nigerian star D’Banj’s “Bother You”, the follow-up to his breakthrough UK hit “Oliver Twist”, while “Dangerous Love” features reggae star Sean Paul, though fans will be excited that it is the latest single from a Londoner of Ghanaian descent, Richard Abiona, aka Fuse ODG.

Abiona’s three releases to date have all been sizeable hits – his party-starting debut “Azonto” spread the eponymous Ghanaian dance worldwide via word of mouth and a viral video, then came Top 10 entry “Antenna”, aided by a remix cameo from Wyclef Jean. Finally, “Million Pound Girl (Badder Than Bad)” peaked at No 5 in January of this year, so there are high expectations surrounding his propulsive follow-up. The ease with which a former Fugees star and now Paul have collaborated with Abiona suggest parallels with western sounds, though you do pick up recognisable Afrobeat rhythms.

Much of this is down to Abiona’s varied upbringing. Born in the UK, he went to primary school in Ghana when his parents returned there, but came back aged 11. During this period, he struggled at first to fit in, imbibing high-life groups from his mum and dad’s heritage at home, while hearing So Solid Crew on the radio and getting into US hip-hop. “[I was] constantly hearing [African music] being played in the house by my parents,” he explains. “I grew up on hip-hop so that’s had a huge impact on me and still does today. But also just being in the UK and listening to the radio and music here like garage, grime and synth-driven dance music.”


t was a trip to Ghana in 2011 that set him on the path he follows today. There, he hooked up with a performer from an earlier generation. Reggie Rockstone, also UK-born and of Ghanaian heritage. In the mid-Nineties, he had helped found an earlier Afro-rap fusion – hip-life – that continues to thrive with Reggie himself still a respected player. “Azonto” was inspired by this stay, forging Abiona’s current sound – “a fusion of African percussion and western dance sounds”.

A London-based DJ, Capital Xtra host Abrantee, has given the name Afrobeats to a melange that owes as much to funky house, R&B and dancehall as it does to hip-hop. On his show you can hear anything from the raw sound of hip-life duo R2Bees to the smoother R&B delivery of P-Square, identical twins Peter and Paul Okoye who are signed to Akon’s Konvict Music label. They have yet to push their recordings in the UK, though have played major live shows at such venues as Hammersmith Apollo.

Another key difference nowadays is that African heritage is becoming as accepted or even as cool as, Afro-Caribbean, so British rapper Giggs can be found collaborating with British-Nigerian vocalist Moelogo. A figure without need of that support is D’Banj, a major star across Africa, whose new single “Bother You” shows a writer progressing lyrically. While his previous hit, released via Kanye West’s Good Music, used wit to highlight his ambition, this single was apparently inspired by best-selling novel Half of a Yellow Sun (the video features exerpts from the movie).

That film, made and mostly funded in Nigeria – reportedly the local movie industry’s most expensive – reminds us Afrobeats has arrived on a wave of increasing confidence in parts of the continent. That nation, Africa’s most populous, has recently overtaken South Africa as the region’s largest economy. This is a story Abiona is keen to promote himself, even appearing on Newsnight to rail against continuing media depictions of Africa as a source of bad news. There, as in many media opportunities, he wore a cap bearing the acronym Tina, which stands for his guiding phrase, “This Is New Africa”.

A thoughtful interviewee, he drops the statistic that seven of the top 10 fastest growing economies are in Africa. “There are a lot of amazing developments in technology, fashion, business, etc., taking place on the African continent that the world could learn from. Also, when I go to Ghana, there is just a general spirit of happiness, music everywhere and people always dancing. Maybe the weather helps but they know how to have fun – and I think that comes across in the music.” This is not to detract from the enormity of the Boko Haram abductions, but, as Abiona says, “there needs to be a balance.”

For the music-makers seeking a wider audience, another concern might be Afrobeats’ immediate future in the UK. Take a sound from an exotic locale, make global waves and tempt huge US names to get on board. Now it starts to sound like the short-lived reggaeton craze or past interest in Brazil’s favela funk. Abiona, though, sees that as looking through the wrong end of the telescope. After all, Africa is a whole continent – everyone else should take notice.

“You have to remember over there it’s not a niche genre,” he says. “African music has a mainstream home in Africa. So I think that the genre will continue to develop and thrive as the continent does – it’s one of many growing exports.”

African beats are back, under new management

Afrobeat(s): The Difference a Letter Makes

Lagos, Accra, London -- 2014. A different room is now in the thick of it. It's a room equally caught up in a sound and a movement, although far more amorphous. No longer is this a single room or single band, but rather a diaspora spread across continents, its crowds consumed by happiness over anger. The sound, too, is less distinct. There's Ghanaian "hiplife" and Nigerian "Naija" beats -- both rooted in the pervasive influence of hip-hop -- schizophrenically layered upon grimey British house and generously dipped in autotune. There's even an almost imperceptible hint of Afrobeat, which, in genealogical homage or convenient branding (depending on whom you ask), lends this movement its name: Afrobeats.


Fuse ODG, real name Nana Richard Abiona, was born in 1990 in south London to Ghanaian parents. He spent much of his early childhood in Ghana, returning to London for his secondary and university education. In 2009 he began making music he describe in a recent Guardian interview as "hip-hop with an African vibe." Not quite cracking the sound he wanted, unable to survive off "vibe" alone, Abiona returned to Ghana in 2011.

In a similar vein to Kuti's 1967 trip to the U.S. -- where James Brown's funk and Malcolm X's politics proved instrumental in the formation of the sound and message of Afrobeat -- Abiona's trip helped solidify his musical mission.

"We went into this club and everyone was doing these crazy moves. That was when I first saw the locals do the Azonto dance, and I loved it, man! It had so much energy. I came back to England and was like, "Do you know Azonto?" But no one had heard of it," Abiona recalls in the interview. Exposed to the growing popularity in West Africa of hip-hop-influenced Afropop and Naija beats, Abiona returned to London, confident he'd found his sound, one he would describe as "Afrobeats, but with my U.K. thing added to it."

HuffPost is now a part of Oath

 

[Supper]

Consider this. Thom Bell one of the CREATORS of Philadelphia Soul music in the late 1960s and 1970s was born in Kingston, Jamaica.

He produced or wrote (or both) some of the greatest songs for of that era. Music that most of these idiotic "ADOS" proponents would especially distinguish from "foreigners," and consider to be a staple of "our culture" and "our people." Songs like La-La (Means I Love You), Could it Be I'm Falling in Love, I'll Be Around, and You Make Me Feel Brand New among so much others. Songs your parents, Uncles, Aunts, grandparents, love dearly as part of black American culture. All produced and written by a Jamaican.

Can I expect more woke black people vs. other plack people YouTube Do you see anyone running around claiming Jamaicans influenced or created Philadelphia Soul and everything that followed it? Is anyone claiming the Stylistics, The Spinners, The Delfonics

Philly Soul was the brain child of Kenny Gamble & Leon Huff that came from a fusion of Jazz, Funk, R&B, and Stax-Southern Soul full stop. Where exactly is the Jamaican influence in that?

Thom Bell himself was simply a product of those two and was brought into the music industry by them, like the other key players under Gamble & Huff like Bobby Martin, Linda Creed, Norman Harris, and Dexter Wansel. You can try to overemphasize his role in the genre because he's jamaican, but the fact remains that Philly Soul was the offspring of Gamble & Huff, particularly Gamble. The music Bell played and created while at PIR was %100 AA in origin. There was nothing Jamaican inspired in the sounds of Philly soul.

Just like the first Hip Hop DJ was Jamaican, and so many of the great Hip Hop pioneers were Caribbean.

The west indian hip hop myth has already been beaten to death.
https://www.thecoli.com/posts/34621217/

And no AAs don't have to be politically correct about this "cultural exchange" for the sake of sparing non-ADOS black feelings or not causing division The fact is that every popular music sound that exist in this world today has been influenced by AA music, in the case of Jamaicans it's exceptionally apparent. And the fact that AAs do this without flooding their nations with immigrants is even more remarkable. AAs on the other hand rarely are influenced as a group by the culture of foreigners, and ESPECIALLY immigrant cultures. Immigrant cultures are uncool, lame, and get made fun of by AAs. Ask some of these salty immigrants on here yourself. Immigrants, black and non black, adopt AA urban culture to fit in while contributing next to nothing of their own to AAs in this so called "cultural exchange".

In fact the only "foreign" influence on AAs I can point to if I'm being generous is Japanese influence via anime and video games for the blerd sub culture(and even then the so called culture exchange is still more from us to them than the other way around). And that's not a result of immigrants but a people in a nation having an incredibly global influential culture particularly as it pertains to so called "nerds".

 

[IllmaticDelta]

Philly Soul was the brain child of Kenny Gamble & Leon Huff that came from a fusion of Jazz, Funk, R&B, and Stax-Southern Soul full stop. Where exactly is the Jamaican influence in that?

Thom Bell himself was simply a product of those two and was brought into the music industry by those two, like the other key players under Gamble & Huff like Bobby Martin, Linda Creed, Norman Harris, and Dexter Wansel. You can try to overemphasize his role in the genre because he's jamaican, but the fact remains that Philly Soul was the offspring of Gamble & Huff, particularly Gamble. The music Bell played and created while at PIR was %100 AA in origin. There was nothing Jamaican inspired in the sounds of Philly soul.

.

...was going to post the same thing almost word for word but didn't want to get off topic. Thom Bell was working within the frame work/vocabulary of Afram music. Thom Bell didn't bring anything Jamaican into the mix. And as you said, Philly Soul was w/o doubt, the child of Gamble & Huff

 

[SupaDupaFresh]

Its one thing that you can go this hard just to deny a Jamaican-born songwriter and producer heavily "influenced" Philadelphia Soul music. Its one thing that you can be offended by the founding role Jamaican/Caribbean immigrants played in Hip Hop music and culture--an influence more prevelant to this day than ever before as Dancehall, Afrobeat, Soca, and Hip Hop producers are constantly exchanging musical ideas and production techniques.

I am not even arguing that a Jamaican invented Philadelphia Soul. Obviously its not a Caribbean musical form. But if we're not talking about cultural exchanges between the black diaspora and moving the goalpost to who was the "brainchild" of these genres and what was just a "product" of ideas that already exist then whats the point of this thread? Obviously these genres were conceived entirely from its country of origin with some surrounding influence. But all music of the diaspora is ultimately a product of African influence, music, and cultures dating centuries. Full fukking stop. Let me see you argue otherwise and attribute AA culture and music to whites.

But then again youre quick to align yourself and your culture away from other black "immigrants" and would rather feel closer in cultural exchange with fukking racist, white washed Japanese anime and video games. Black-Caribbean and African culture is "uncool" and "lame" but fukking cartoons and sci-fi bullshyt worshipping blonde haired, blue eyed heroes that dont even look Japanese themselves, while depicting us in crude stereotypes, if at all, is what you consider to be the greatest foreign influence on black American culture? More than the sounds and culture of Jamaica? Of Trinidad? Of Cuba? Puerto Rico? Nigeria and the rest of your brothers and sisters of our beautiful diaspora, to which we all owe Africa for our sound, originality, creativity, and cultural significance?

Amazing. Its almost as if your pride lives vicariously through Westernization. Just as corny ass anime is a white washed Westernized depiction of Japanese culture, you too seem to measure black cultures by Westernized influence.and popularization. Im not so insecure that I have to distance myself from other black people and stand with racist Japanese bullshyt to feel important. Black music will always be African music. Again, unless of course you wanna argue how "Western influence" makes African American music the best. Have at it and show us where your ideology is really coming from.

Thank God our ancestors got together and made great music with each other, and still continue to do to this day. Imagine what our music and culture today would be if we hated one another for no entire reason and looked to damn white washed Japanese anime and video games for cultural inspiration.

 

[K.O.N.Y]

Its one thing that you can go this hard just to deny a Jamaican-born songwriter and producer heavily "influenced" Philadelphia Soul music. Its one thing that you can be offended by the founding role Jamaican/Caribbean immigrants played in Hip Hop music and culture--an influence more prevelant to this day than ever before as Dancehall, Afrobeat, Soca, and Hip Hop producers are constantly exchanging musical ideas and production techniques.

I am not even arguing that a Jamaican invented Philadelphia Soul. Obviously its not a Caribbean musical form. But if we're not talking about cultural exchanges between the black diaspora and moving the goalpost to who was the "brainchild" of these genres and what was just a "product" of ideas that already exist then whats the point of this thread? Obviously these genres were conceived entirely from its country of origin with some surrounding influence. But all music of the diaspora is ultimately a product of African influence, music, and cultures dating centuries. Full fukking stop. Let me see you argue otherwise and attribute AA culture and music to whites.

But then again youre quick to align yourself and your culture away from other black "immigrants" and would rather feel closer in cultural exchange with fukking racist, white washed Japanese anime and video games. Black-Caribbean and African culture is "uncool" and "lame" but fukking cartoons and sci-fi bullshyt worshipping blonde haired, blue eyed heroes that dont even look Japanese themselves, while depicting us in crude stereotypes, if at all, is what you consider to be the greatest foreign influence on black American culture? More than the sounds and culture of Jamaica? Of Trinidad? Of Cuba? Puerto Rico? Nigeria and the rest of your brothers and sisters of our beautiful diaspora, to which we all owe Africa for our sound, originality, creativity, and cultural significance?

Amazing. Its almost as if your pride lives vicariously through Westernization. Just as corny ass anime is a white washed Westernized depiction of Japanese culture, you too seem to measure black cultures by Westernized influence.and popularization. Im not so insecure that I have to distance myself from other black people and stand with racist Japanese bullshyt to feel important. Black music will always be African music. Again, unless of course you wanna argue how "Western influence" makes African American music the best. Have at it and show us where your ideology is really coming from.

Thank God our ancestors got together and made great music with each other, and still continue to do to this day. Imagine what our music and culture today would be if we hated one another for no entire reason and looked to damn white washed Japanese anime and video games for cultural inspiration.

Its one thing that you can go this hard just to deny a Jamaican-born songwriter and producer heavily "influenced" Philadelphia Soul music

Its not about going hard denying a jamaican born songwriter. Its the fact that, that jamaican born songwriter was working with a afram musical template and your acting as if it was jamaican cultural influence that created those songs over soul. Motown.Stax etc

its one thing that you can be offended by the founding role Jamaican/Caribbean immigrants played in Hip Hop music and culture--an influence more prevelant to this day

The influence stemmed from afram funk and disco music. Whether it was a jamaican descent doing it or not

I am not even arguing that a Jamaican invented Philadelphia Soul. Obviously its not a Caribbean musical form. But if we're not talking about cultural exchanges between the black diaspora and moving the goalpost to who was the "brainchild" of these genres and what was just a "product" of ideas that already exist then whats the point of this thread?

Its not the fact that you can argue that, you absolutely cant lol.Nobody is talking about moving the goal post. The fact is that modern black music is heavily predicated by afram influence, indiscriminate of any genre. Ados musical influence is not anchored by the concepts of genres. It was a new approach to Modern music, itself. The diaspora is in the same boat that everyone else is in that respect

Amazing. Its almost as if your pride lives vicariously through Westernization.

,
First of all what aframs have done in the west and input on western culture has created more oppurtunities for you than you have done for us.The rest of the diaspora seems to value the west surely enough despite not living in it

,

 

[SupaDupaFresh]

Its not about going hard denying a jamaican born songwriter. Its the fact that, that jamaican born songwriter was working with a afram musical template and your acting as if it was jamaican cultural influence that created those songs over soul. Motown.Stax etc


The influence stemmed from afram funk and disco music. Whether it was a jamaican descent doing it or not



Its not the fact that you can argue that, you absolutely cant lol.Nobody is talking about moving the goal post. The fact is that modern black music is heavily predicated by afram influence, indiscriminate of any genre. Ados musical influence is not anchored by the concepts of genres. It was a new approach to Modern music, itself. The diaspora is in the same boat that everyone else is in that respect


,
First of all what aframs have done in the west and input on western culture has created more oppurtunities for you than you have done for us.The rest of the diaspora seems to value the west surely enough despite not living in it

,

African American music is heavily predicated by Western, European influence and "templates" as you put it. Every technical aspect of modern music that we consider signature of "black music" including lead singer-to-chorus call-and-response structures, pitch/string bending and imitating vocals using instruments, bar-by-bar repetition, polyrythmic melodies/bass lines are of African origin. Most of the vocal techniques we associate almost exclusively with black people, black music, and worship, including the incredible ability to belt, hold, and bend a "high note" is of clear African origins. In fact there are African tribes whos entire societies were based around singing and the ability to do this one thing. Most of the instruments we associate with black music were of African invention, known to our ancestors long before becoming "American." The Guitar and the banjo are both based on various stringed African instruments such as the Kora and the Akonting. The modern piano was invented in Ancient Egypt and is heavily based on Sub-Saharan African instruments like the Marimba, Mbira, and Balafon. I can go on.

African Americans didnt fall from the sky and create the Blues. We weren't swinging joyously in the jungle devoid of a sophisticated culture until the white man brought us to America. We came to America with a wealth of knowledge in navigation, agriculture, architecture, but most especially art and music already in our minds. Its sad that you choose to limit the scope of your history and identity to the moments after you were enslaved, and not the glorious past that is still part of our cultures and identity to this day.

African American music is a mixture of European musical influence combined with African musical technique dating mellenias and still prominent to this day. This is not to undermine the genius and originality of our ancestors in America. I refuse to be dragged into the same self hating ignorance. But just to point out the flawed logic youre putting out there. Does a European influence attribute African American music--and therefore, by your logic, ALL black music--to white people regardless of who ultimately conceived it? Do whites have permission from you woke hashtag clowns to constantly undermine our entire history and culture using the same ego stroking, insecure logic youre now adapting against your own people? African Americans inspired modetn Afrobeat (they did) but your ego cant stand admitting the tremendous inspiration Caribbean DJing and sound system culture had on Hip Hop and still clearly has on Hip Hop?

Again, I dont limit or conflate my pride or history with white people, nor do I measure or conflate my pride in any black liberation movement with the wealth and "opportunity" of the white country it took place in, certainly not to stick my nose up at other black people living in exploited third world nations. What kind of fukked up next level c00nery? This is what passes for pro-black nowadays? Im proud of my people's political advancement and determination everywhere, not just the white countries, so I wont understand this thinking or what you want to prove. I wont be dragged into the ignorance.

If what you want is a dikk measuring contest over whos culture is the most prevalent, globally, then African American culture wins, obviously. American entertainment in general is the most prevelant worldwide. There is no contest here and frankly I think anyone sitting in a third world country could admit that American culture is more dominant then their own. And they can somehow admit that and still take pride in their own culture. Again, how does this undermine black cultural achievements outside of the United States? Is Reggae and Dancehall not also loved all over the world? Is Latin (and by Latin I mean African) dance music not popular around the world? Is West African dance music not gaining new ground in just the past couple years, thanks mostly to American artists actually? The fact these genres outside of America gained such far reach despite originating from penniless third world countries should give you as much pride as the one you hold (albeit, insecurely) for African American culture, risen from plantation fields and impoverished ghettos. Black people are just awesome.

It seems obvious you view black pride entirely through the lens of "the West." A shame. I encourage you to open a book on musical theory and the history of African American music so you can understand how silly this whole topic is.

I guess Im just old school pro-black and dont get what the fukk this is suppose to prove.

 

[Brer Dog]

But then again youre quick to align yourself and your culture away from other black "immigrants" and would rather feel closer in cultural exchange with fukking racist, white washed Japanese anime and video games. Black-Caribbean and African culture is "uncool" and "lame" but fukking cartoons and sci-fi bullshyt worshipping blonde haired, blue eyed heroes that dont even look Japanese themselves, while depicting us in crude stereotypes, if at all, is what you consider to be the greatest foreign influence on black American culture? More than the sounds and culture of Jamaica? Of Trinidad? Of Cuba? Puerto Rico? Nigeria and the rest of your brothers and sisters of our beautiful diaspora, to which we all owe Africa for our sound, originality, creativity, and cultural significance?

Amazing. Its almost as if your pride lives vicariously through Westernization. Just as corny ass anime is a white washed Westernized depiction of Japanese culture, you too seem to measure black cultures by Westernized influence.and popularization. Im not so insecure that I have to distance myself from other black people and stand with racist Japanese bullshyt to feel important. Black music will always be African music. Again, unless of course you wanna argue how "Western influence" makes African American music the best. Have at it and show us where your ideology is really coming from.

Thank God our ancestors got together and made great music with each other, and still continue to do to this day. Imagine what our music and culture today would be if we hated one another for no entire reason and looked to damn white washed Japanese anime and video games for cultural inspiration.

How did you get all of that from this?

In fact the only "foreign" influence on AAs I can point to if I'm being generous is Japanese influence via anime and video games for the blerd sub culture(and even then the so called culture exchange is still more from us to them than the other way around). And that's not a result of immigrants but a people in a nation having an incredibly global influential culture particularly as it pertains to so called "nerds".