This website will serve to educate the general public on Black people and the Stuff That Black People Don't Like. Black people have many interesting eccentricities, which include disliking a litany of everyday events, places, household objects and other aspects of their everyday life.
Black people are an interesting subject matter and this website will chronicle the many problems in life that agitate this group of people.
To suggest material, please contact sbpdl1@gmail.com
There's something about the 1980s: John Hughes movies were a bridge back to the 1950s; Larry Bird and the Boston Celtics were saving the NBA; Michael Jackson decided his ebony skin needed an ivory overhaul; bands like Journey, Toto, Bon Jovi, etc., were producing songs and power ballads that have as much power now as they did when thousands crammed arenas to hear them perform live; in essence, whiteness still sold.
People reveled in it.
This is one of the primary reasons contemporary Black rap and R&B artists "sample" songs from this time period in the hopes of creating an iTunes sensation, because the music from this era resonates with people in a way the Black Eyed Peas original songs could only wish to achieve.
Perhaps the ultimate expression of this concept is the Power Ballad, that one love song every band tried to perfect to include in an 80s film and gain immortality through some awkward teenager guy always remembering it fondly as the song they finally got to the second base while listening to.
White Snake, Journey, Poison, Cheap Trick, Foreigner, Jefferson Starship, REO Speedwagon, Boston; all bands that can actually perform live and sound just as good as they do on the radio, CD, or via iPods, all bands that produced Power Ballads that still have an emotional pull modern "artists" could only wish to replicate.
Go to any bar where modern white people - fresh out of college to those still clinging desperately to their fraternity and sorority days and refusing to grow up - congregate and the pulsating noise of rap will make conversation virtually impossible. But if, by chance, a modern-day "juke box"machine is available that streams music then you have the opportunity to resurrect lost Power Ballads that instantly invigorate any evening out on the town.
Confusing people who never knew songs like Alphaville's Forever Young existed prior to Jay-Z's need of something familiar to have an instant 'hit' is a hilarious game that illustrates the Power Ballads appeal.
Black people have never been able to understand the mysticism of the Power Ballad, the concepts that go into producing such songs as Boston's Amanda; Jefferson Starship's Sara; The Scorpions Europe's Carrie; Toto's Rosanna; and Steve Perry's Oh Sherrie are foreign to Black people. Alien.
Just like Nicholas Sparks novels and films, white girls instinctual love these songs knowing that it represents something fundamental. Years will pass from hearing one of these songs, but the feelings present when they first heard them will come pouring back in an emotional dam-bursting and remind them of dreams they once had.
Sentimentality is a distinctly white trait, and though Black people can Act White by trying to enjoy a Power Ballad, it's difficult to find a Black person who can empathize with the emotions that can be drudged up from the hearing of a song 10 or 20 years from when those memories were first created.
The Power Ballad is a uniquely white [and primarily American] phenomenon, a manifestation of hope, love, desire and longing that symbolizes one of the last unifying cultural traits left for white people. Regardless of the geographic location, Power Ballads are still played across America and speak to an epoch that contemporary music seeks to dull, de-legitimize and label as square.
Funny: many of the most popular rap and R&B songs require heavily sampling from this time period in hopes of attracting an audience.
Stuff Black People Don't Like includes Power Ballads, one of the most powerful instruments for keeping Black people from a bar, club, restaurant or place of business.
Power Ballads have the capacity to take white people back to earlier moments in their life that bring a strange mixture of joy and sorrow, loss and happiness. Memories from simpler times when the jitters before a first date could be fixed by listening to the comforting words and music from a Power Ballad that foreshadowed the hope of potentially rounding the bases later in the evening and starting something special with that girl who would ultimately break your heart.
Simultaneously the Power Ballad captures all the emotions that make life worth living and fighting for; you're not supposed to live in the past, but you're not supposed to forget it either.
The other day in the gym, I heard the familiar beat of Video Killed the Radio Star play over the sound system. Instead of the 1980s song however, the beat accompanied strange new lyrics courtesy of will.i.am and Nicki Minaj. The song is called Check it Out and throughout the entire "song" the beat to Video Killed the Radio Star plays.
Never forget what the Aerosmith/ Run DMC collaboration meant
This continues a trend I've noticed -- and one that I plan on writing about as an official entry here -- as 'original beats' are something Black people do not like. Yes, Black people are gifted at rhythmically utilizing words that, when meshed with synthesizers and bass, induce people to 'act a fool' and 'freak dance'.
Lately though, rap is going soft. No homo soft. With the collapse of the record industry, recording artists are relying on iTunes sales (because only stale old white acts from the 1960s, 70s and 80s draw big concert crowds and gate receipts) to pay the bills. Rappers are bringing back beats from the 1980s and laying down their verbiage to familiar tunes in a bid to play upon not only nostalgia, but white peoples love for the decade of the 80s.
Keeping rap and hip-hop acceptable within the white community is vital to its continued financial success. As long as white girls like to dance to rap, then white guys will tolerate listening to music from rappers and hip-hop artists that constantly denigrate them.
Such classic 1980s beats such as Alphaville's Forever Young have been utilized by a Black "musician/producer" in a bid to stay relevant. Jay-Z and Mr. Hudson used that songs beat in a song entitled Young Forever.
Perhaps it was Puff Daddy, P. Diddy, Diddly P or what Sean Combs is calling himself these days that started this trend. In the 90s, he used the beat to The Police's Every Breath You Take for the song dedicated to the slain rapper, The Notorious BIG. Entitled I'll be Missing You, the song relied on the haunting beat that Sting made famous.
Puff Daddy would use the talents of Jimmy Page from Led Zeppelin for the song Come with Me, which heavily sampled Kashmir. The merits and artistic quality of the song where questioned by actual musicians:
This collaboration was number twenty-seven on VH1's "Least Metal Moments"in a segment subtitled "It's All About the Zeppelin", because many metal fans and musicians didn't like the remake. Nick Menza formerly of Megadeth called the Puff Daddy/Jimmy Page collaboration "a blasphemy".
In 1998, Brett Scallions of the band Fuel (who had also offered a song for the soundtrack to Godzilla) said that the "Kashmir" remake put him off the entire film, saying: "It seems like anyone can take a classic rock song from the '60s, '70s or '80s and rap over the top of it and make a million bucks."
Stuff Black People Don't Like asks this question: How many rap, hip-hop or R&B songs utilize samples/beats from 80s songs? White people love the 80s and smart music producers hoping to keep their record company in business will capitalize on this knowledge.
What other songs from the 1980s have had their beats used in rap or hip-hop songs now? We're trying to compile the ultimate list of Black people incapable of coming up with original beats and relying on popular samples from 80s songs to garner a bunch of iTunes purchases.
Are all rappers going for their Run DMC/ Aerosmith moment?:
The 1986 music video for "Walk This Way" symbolically placed a rock band (assumed to be Aerosmith) and Run-D.M.C. in a musical duel in neighboring studios before Tyler literally breaks through the wall that separates them. The video then segues to the bands' joint performance on stage. The highly popular video was the first rap hybrid video ever played in heavy rotation on MTV and is regarded as a classic of the medium.
The # posts start again next week, but first we need your help to compile this list.
Loitering. Nationwide, businesses are confounded with the problem of individuals who have the apparent goal of standing around pointlessly with no desire to purchase any goods, but to merely engage in prolonged periods of fixed lingering.
No attempt is made to make a transaction by these loiterers, but shuffling around endlessly causing discomfort to those who are shopping is an unsettling byproduct of such behavior.
In every effort to maintain positive relations with the law, businesses erect "No Loitering" signs that are attempts to discourage the persistent lurking of unwanted individuals who make no effort to be called customers.
By law, businesses cannot discriminate against would be customers by the basis of their race, ethnicity or religion, but placing "No Loitering" signs in clear visibility is an indicator of that companies uneasiness with people of color.
Policies of "No Loitering" are in place at most malls across America, restaurants and bars and even theme parks:
Walt Disney World ejected four of Florida State University's top football prospects from Downtown Disney last weekend under its anti-gang, no-loitering policy.
The four, including the son of a Disney manager and the son of a Philadelphia civil-rights lawyer, were banned for life from Disney World property late Friday.
A Disney spokeswoman said the youths were expelled because they had been loitering for an extended period and refused to leave when Disney security told them to.
Parents of the youths wonder whether there's another reason: They're black.
"I keep thinking to myself, `This is crazy,' " said Mark Nugent, stepfather of Vincent Williams, football star at Ridge Community High School in Polk County. "Once they realized they weren't gangbangers, why didn't they let them go? They took their pictures. They fingerprinted them. And treated them like common criminals."
Because of concerns about a rise in ganglike activity at Downtown Disney lately, loitering or "any other inappropriate behavior" by groups of youths is not going to be tolerated, spokeswoman Jacquee Polak said Tuesday.
"No Loitering" signs are legal because the business owner is not practicing discrimination against customers, but preempting thievery by singling out shiftless layabouts who make no effort to part with their cash.
Black people often bear the brunt of "No Loitering" signs because of their willingness to travel in packs, which can be mistaken for gangs. Across the nation, discernible patterns of petty theft, crime and destructive decisions are attributed to Black people, which makes business owners weary of their presence.
A growing number of youths had begun loitering on the Plaza in recent weeks with trouble erupting Easter weekend.
Police estimated 300 to 500 youths gathered April 3, caused fights and displayed gang signs. Police used pepper spray to break up several fights. Officers arrested a 17-year-old in a car with a gun.
Loitering drives away qualified customers who find the presence of such vagrants a sign of potential trouble and a dis-settling shopping experience. Worse, the nightclub experience for Black people is often objectionable due to an unpleasantly frequent derelict who is participating in loitering outside the club:
City officials have formed a committee and are crafting new rules to address concerns of violence and other problems at local nightclubs, in the wake of a deadly shooting at the Everyday Club and Lounge.
Located at 1603 Seventh Ave. N., the Everyday Club and Lounge Thursday stood vacant and silent, closed in the aftermath of the violence.
And nearby residents were pleased at the emptiness.
"My kids can't come out and play, since I've been here," Lashonda Jordan, who has lived in apartments across from the club since August 2009, said, noting she was "glad" the club was closed. "It's ridiculous ... Black, white, no matter. It's ridiculous how people are acting."
Quentin Antonio "Que" Spencer, 20, of 455 Merry Valley Drive in Columbus, was killed in an April 20 shooting at the club, in which an unnamed suspect opened fire, also injuring three others...
The committee also will be requesting bar owners sign agreements giving the CPD permission to "ride through" problem areas and warn loiterers and people engaged in potentially dangerous or problem behavior around the clubs for first offenses, with second offenders to be "picked up" by the CPD.
And "no loitering signs" will be placed on club buildings, Smith added.
These signs are aimed specifically at Black people, in a legal attempt by business owners to dissuade prospective miscreants from adding to the already overburdened penal system in America.
A bill criminalizing gatherings of more than two people in DC is drawing outrage and opposition from community and labor activists, as well as civil rights advocates. “This is a clear and blatant violation of the Constitutionally-guaranteed right of the American people to assemble,” said Metro Council President Jos Williams. “That it’s been introduced in the nation’s capitol is a travesty of justice." The Hot-Spot No-Loitering bill, recently introduced by Councilmember Jim Graham, would empower the DC police to declare a “hotspot zone” at any time, making it a crime to gather with two or more people on public property and giving the police the power to arrest people in the targeted zone with $300 fine and/or 180 days in jail.
Highland Mall closed early on Saturday, a day when the Texas Relays were in town, "because the safety and security of our shoppers and retailers is our top priority," according to an e-mail from the mall's general manager. Because the Texas Relays attract visitors who are mostly African American, the mall closing sends the message that Austin does not welcome their business. But the reaction from the blogosphere was mixed, with some defending the mall's action as prudent in the face of an unwelcome invasion of rowdy teenagers.
The struggle to racially integrate lunch counters in the 1960s made history. But equally important was the struggle to integrate shopping. The Highland Mall debacle shows that society is far from achieving that goal.
During the civil rights era, equal access to stores was high on the list of demands for racial justice. Before Jim Crow laws were repealed, many stores restricted their facilities to whites only. Black customers often were not allowed to try on clothes, eat at lunch counters, or use public restroom facilities in stores.
After her 30 year old son was arrested for loitering at Simms Street Apartments on Friday, April 16, mama was not happy. But it was apparently the Public Safety Viper Team she was angry at berating one officer and telling him he was doing the work of the white man.
Officer Bradley told several persons they would have to move along. One male, identified as "Durrell", looked over at Calvin Butler, sitting in a chair in front of a building, and said "Xxck these motherxxxxers, lets go". Sergeant James Dollar warned the male that his conduct was disorderly, and that he could be arrested, especially with the numerous small children in the area.
Sergeant Dollar advised "Durrell" and Calvin Butler to move along and leave the property immediately. Durrell continued to curse and be belligerent but walked on to an apartment porch. Butler, who had a white cup full of beer in his hand, was muttering and arguing with officers saying he did not want to be there anyway.
Loitering is a grave problem because it drives away respectable business, potentially bringing about financial ruination to said owner and depriving a community of an important part of the local economy.
Of course, some businesses employ low-tech measures instead of nasty "No Loitering" signs through the advantageous playing of classical music to ward off loiterers:
The market started using classical music about three years ago to repel loiterers and vandals from their buildings. Senn said the method appears to be working. Since he began playing the music, Senn said he hasn't called police to the lot as much, although the Seattle Police Department wasn't able to confirm that.
Businesses and transportation systems use classical, opera and country music as a crime-fighting tool around the globe.
Stuff Black People Don't Like includes no loitering signs, because Black people are painfully aware that they speak directly to them. Well, and Jay and Silent Bob.
If dress codes can't keep Black people out, "No Loitering" signs will.
Christmas is a time where family comes together to share the wonderful tradition of giving gifts to loved ones. Nestled safely under the Christmas Tree, these gifts are packaged in ornate wrapping-paper hiding the contents for all to see, namely the individual who will be the recipient of said gift.
The practice of giving gifts at the beginning of winter traces back to ancient Rome. According to Dennis Green’s article, “The Origins and Practices of Christmas: Christian or Pagan?” written December 8, 2008 and found on the Free Republic website, “Ancient Romans held year end celebrations to honor Saturn, their harvest god; and Mithras, the [sic] god of light…As part of these celebrations, the people prepared special foods, decorated their homes with greenery, and joined in singing and gift giving. These customs gradually became part of gift giving.
The origins of gift-giving date back to the days of Rome and include the Biblical tale of the birth of Jesus and the gifts he received from the three wise men.
Interestingly, but 24-hours before Christmas, a gift bestowed from father to daughter ended up being a weapon utilized in a manner even the Grinch couldn't comprehend:
"Blackstreet vocalist Teddy Riley is accused of using a Rock Band guitar controller to violently attack his daughters.
18-year old Taja Riley has taken out a temporary restraining order against her dad after an incident where she claims he was "stomping, punching and bashing" she and her older sister at home just before Christmas, which left Taja's knees, face and head injured. The court documents say Riley at one point brandished the controller and threatened to kill someone with it.
A hearing is set for next month."
Christmas is a time for families to come together over gifts that benefit the entire family. Board games bring families closer, as generational gaps are closed over games such as Battleship, Twister, Clue and Monopoly over the Christmas weekend. Video games have the same ability to foster an air of conviviality, yet Mr. Riley failed in this:
Teddy's 18-year-old daughter Taja Riley was granted a temporary restraining order against her dad -- claiming 43-year-old Teddy abused her and her older sister by "stomping, punching and bashing them" in his L.A. home on December 23.
In the documents, filed in L.A. County Superior Court, Taja claims at one point Teddy, "lifted a Rock Band guitar and threatened to kill person(s) w/ it."
Taja claims she suffered several injuries in the alleged altercation -- including "bashes to temple, contusion on face" and "pain in knee."
What exactly is Rock Band, the video game behind the Christmas attack?:
The first game in the series, Rock Band, was released in 2007 shortly after Harmonix was acquired by MTV Games, and its sequel Rock Band 2 was released in 2008. Harmonix has also regularly provided downloadable content, in the form of additional downloadable songs on a weekly basis through the game consoles' network services. To date, over 1000 songs are available between those on the game discs and through downloadable content. Harmonix has also created standalone Track Packs that either contain a selection of downloadable content, or a selection of band-specific songs.
The company has also designed the Rock Band Network to allow bands and labels to publish their songs as Rock Band tracks that can be purchased by players. To date, over 13 million copies of Rock Band titles have been sold with more than $1 billion in total sales, and, with more than 1000 songs in the franchise library, over 60 million songs have been downloaded.
Rock Band gives family and friends the chance to come together and perform famous rock songs as a team, a tandem, with one goal: to sound better than the original band that made the song famous to begin with.
Interestingly, Rock Band has few, if any Black performers to emulate. Perhaps this was why Mr. Riley raged out at his daughter over Christmas:
Why don’t black people listen to or produce Rock music?
Apparently, the music died on February 3rd, 1959 when Buddy Holly, Richie Valenz, and the Big Bopper died in a plane crash following a concert. Apparently, Muddy Waters, Chuck Berry, Little Richard, Howlin’ Wolf, and Big Mamma Thornton were also on that plane, if in fact, the music had died. Oh they were not. Then what the Hell was that song about? Oh that song was about the day white music died. Got It.
Unfortunately, Muddy, Chuck, Little Richard, Wolf, and Big Mamma did die that day. They were smothered in the ashes of their white successors. With Buddy dead and Elvis shipped off to war, the immediate “channelers” of Black blues and soul were gone. And so gone was the trail that led to the beginnings of Rock & Roll.
Black Music soon transitioned into the commercial Motown sound which served to make the distinction between polished R&B soul music and the new guitar driven R&B of white acts like the Beatles, the Rolling Stones, and the Who. The distinction grew even further as “Rock” music became more audacious and black music became tamer and tamer. Disco music had transformed black music so much that by the 80’s black music and rock music were as different as days and nights. However, there were grand funk bands in the 70’s like Funkadelic, Earth, Wind, and Fire, and Kool & The Gang. And What about Jimi Hendrix?
Rock Band is an amazingly influential video game, that has the ability to endear new generations of music fans (and consumers) to music that they would never hear on the radio or in their peer groups. Sadly, Black musicians aren't featured in many of the games various incarnations. Many people have perceived the video game Rock Band as racist, and Mr. Riley was just upset that his band has yet to be featured on the game, thus improving past released record sales and ITunes sales.
Stuff Black People Don't Like includes Rock Band, for the perfect Christmas gift for families to come together and practice perfect "work flow" is yet another example of Black envy popping up at being left off video games.
"Some say it's a backward place narrow minds on the narrow way but I make it a point to say that's where I come from."
These lyrics to Kenny Chesney's song "Back Where I Come from" epitomize how the entire world views heterosexual, white males who display any semblance of pride in who they are and where they come from.
To Black people, this song - if they've ever heard it at all - might as well be played in the opening scenes of Leni Riefenstahl's "Triumph of the Will", for Black people view country music and the people who listen to this nefarious genre of music as the direct descendants of the Nazi's.
It was said by a prominent Civil Rights activist that the path to equality would have to run against the south, and yet, "there the south stood, with a fiery sword."
That sword was sheathed thanks to college football, but within the lyrics of country music songs, the performers who write these hits and the millions of fans around the world who congregate in a sea of whiteness at country music concerts, Black people are beginning to wonder if that sword might be unsheathed at some point.
Kanye West, self-proclaimed King of the World, recently decided to interrupt country singer Taylor Swift at a moment of triumph for the young star. Country music fans around the world saw this as a direct assault on "one of their own" and were shocked that nary a soul (save Beyonce) came to her rescue.
Of course, another reason Black people might not like country music is expressed beautifully in this quote:
"Or does the problem lie with people like MCA Nashville president Tony Brown, one of the most respected judges of talent on Music Row? "Country basically is white music. Why would black people want to sing those straight notes...?" he asked in a November 1996 New York Times interview. "To me, black music is about feeling and white music is about no feeling."
No, the reason Black people find country music so violent to the ears is because of the message they wrongly perceive to be behind it and who listens to the music: Middle America, i.e., the media code-word for white people.
The term country music began to be used in the 1940s when the earlier term hillbilly music was deemed to be degrading and the term was widely embraced in the 1970s, while country and Western has declined in use since that time, except in the United Kingdom and Ireland, where it is still commonly used.
Automatically, anytime a Black person hears country music on the radio, save for that purported two percent (a statistical anomaly or perhaps masochists), the iconography and theme song from Deliverance are the first thoughts that enter a Black persons mind, followed immediately by the Nazi, er, Confederate Flag.
Country music is synonymous with white people in the eyes of Black people and the only form of music that Black people have yet to try enter, at least with great success.
One such intrepid Black person who has thrown his cowboy hat into the white-world of country music is Cowboy Troy, who has tried to fuse rap with country, but his act has not caught on as well as hoped. More so, he is a dreaded Black Conservative, which puts him squarely at odds with Black people as he is a Republican, automatically a Token Black and is trying to Act White.
Worse, he has yet to be embraced by country music fans and is an outcast in his own community.
Interestingly, he is a fan of the World Wrestling Entertainment (WWE), and it was in an organization that WWE bought, World Championship Wrestling (WCW), the disconnect between rap and country music was prominently on display:
"The West Texas Rednecks formed in June 1999 in WCW. The group developed from four wrestlers who fit the mold of a southerngimmick and had teamed with one another in the recent months. They were to be a heel group to feud with the No Limit Soldiers led by Master P. But the WCW fans, the majority of whom were in the south, did not boo the Rednecks and disliked the rappers instead. The feud was quickly dropped and the Rednecks were given other face groups to quarrel with instead. They lasted until late October 1999.
The group was made up of leader Curt Hennig, brothers Barry and Kendall Windham, and Bobby Duncum, Jr.. Although Hennig was actually from Minnesota, they billed him as being from Texas like the others. They filmed several vignettes with them riding four-wheelers and they recorded a country song called "Rap is Crap," that received some airplay in the south and on WCW television. The song is mainly about the bands apparent dislike for the genre of rap music. It also discusses some of the bands favorite things associated with the southern culture and country music. "Rap is Crap" can be found on WCW Mayhem: The Music. Their second theme song "Good Ol' Boys" was based on Jeff Jarrett's theme song from the mid 1990s. The Windham brothers won the WCW World Tag Team Championship during this time together. They were joined by Curly Bill, who wore a particularly humorous cowboy outfit, near the end of the group's existence.
The group was originally called The West Texas Outlaws, with West Texas Rednecks intended as an insult. The combination of the popularity of the name West Texas Rednecks, however, combined with the commentators almost never using the stable's proper name, resulted in the Rednecks becoming the group's official name."
Professional wrestling as a petri dish of understanding popular culture and how different racial groups respond to different tendencies in music. Who knew?
Country music has long been seen as an incubator of hate music, as Black people think anytime a guitar, beer and white people get together, a lynch mob can't be far away:
"As an example of how new this was, I noted how country singer Toby Keith’s 2003 hit with country icon Willie Nelson, “Beer for My Horses” that contained the lyrics
"Grandpappy told my pappy back in my day, son A man had to answer for the wicked that he’d done Take all the rope in Texas Find a tall oak tree, round up all of them bad boys Hang them high in the street For all the people to see elicited no controversy at the time."
Well, now Keith is set to star in a movie based on the song, and now the always insufferable Max Blumenthal has procalimed the song to by a “pro-lynching anthem.” He is particularly incensed that Keith is performing the song on the Colbert Report, The Jay Leno Show, and other venues and no doubt his buddies at Media Matters and the Southern Poverty Law Center will follow up.
Blumenthal writes in the Huffington Post“During the days when Toby Keith’s “Grandpappy” stalked the Jim Crow South, lynching was an institutional method of terror employed against blacks to maintain white supremacy.
Blumenthal fails to note that the song is a duet with country icon Willie Nelson who actually sings the offending lines. Nelson has impeccable left wing credentials and played at the 2004 Democratic convention and is expected to play in 2008. I am still waiting for Blumenthal to object.
Furthermore, like the videos for other country music songs that decry street crime like Montgomery Gentry’s “You Do Your Thing, I’ll Do Mine” and Hank Williams Jr.’s “A Country Boy Can Survive” the video for Beer For My Horses portrays urban criminals is white.
Nonetheless, Blumethal insists the song and video are all about encouraging lynching African Americans,
Cue ahead to 3:00 and watch as Keith intones, “We got too many gangsters doin’ dirty deeds.” The singer’s words are not-so-subtly accompanied by the image of a swaggering black man sporting short dreads and baggy clothes. Thus the profile of Keith’s ideal lynching candidate is revealed."
Country music has an audience that is nearly 100 percent white. It is a form of music that resonates with white people in the south, and yet, can be heard in California, Minnesota, New York and any state where white people live.
Songs like Toby Keith's "American Ride" speak to the growing anger in MARs, who are slowly awakening from a long cultural nap:
"Winter gettin colder, summer gettin warmer. Tidal wave comin cross the Mexican border. Why buy a gallon, its cheaper by the barrel. Just dont be busted singin Christmas carols."
Black people don't like George W. Bush and in that horrible storm that he caused called Katrina, Black people decided to try and salvage as much of New Orleans as they could and went to local stores to safe-guard valuables. However, they seemed to leave some goods to the ravages of the flood:
"The Wal-Mart store in uptown New Orleans, built within the last year, survived the storm but was destroyed by looters.
"They took everything, all the electronics, the food, the bikes," said John Stonaker, a Wal-Mart security officer. "People left their old clothes on the floor when they took new ones. The only thing left are the country-and-western CDs. You can still get a Shania Twain album."
Country music is a demonic form of music in the eyes of Black people, and a mechanism for cultural homogeneity that could unite MARs and return the fiery sword to not just southerner's, but all white people's hands. In South Africa, a song called "De La Ray" is uniting Afrikaners against an alien government there that seeks to dehumanize the white populace.
You can't have a revolution without a good dance, and Black people had their own with gangsta rap, but that revolution has gone soft. With Mein Obama in the White House, Black people rightly believe the "colored" revolution has won.
Yet, Black people know that sword still exists and they grow weary as country music continues to speak to "the soul's of white folks".
In the end, Stuff Black People Don't Like will always include Country Music, a genre of music that Black people will attempt to outlaw as the future reaches us and the reality of Cook County becomes the reality of all America. For Country Music is the one form of music that will unite MARs in the end, and that unwritten song waits in the wings, to Black people's chagrin.
Throughout history, as the various races that populate the globe matured and evolved to their various forms today, music proved an integral tool in connecting the generations and more importantly, in ensuring that traditions and customs would pass on from one line to the next.
In Africa, the ancestral homeland of all people on the planet, music is vital part of life and delivers untold joy and happiness to all in earshot, thanks largely to most important instrument that acts as the foundation of all African music, the drum:
Black people in America love music. Jazz, Blues and especially Rap are forms of music that tell dual story of both misery and triumph for Black people. Rap music, besides the the lyrics supplied by Black people, owes its existence to the technology supplied by Rober Moog and his invention of the synthesizer, as that electronic musical device brings us modern rap:
"Beats are traditionally generated from portions of other songs by a DJ, or sampled from portions of other songs by a producer, though synthesizers, drum machines, and live bands are also used, especially in newer music."
Black people believe that rap music is finest form of music ever created, the culmination of all of mankind's musical evolution into the finest self-expressive format ever.
The meshing of traditional African instruments with technology has birthed a form of music that will enshrine the culmination of Black peoples influence, as in 2009 Black people have achieved the apex of their dominion of the world.
And yet, a form of music leaves Black people squeamish and is strangely absent from their Ipods, and this genre of music has even been used to repeal criminals from stores:
"For years, the drunks and drug dealers and hookers who hang out at Hartford's Barnard Park have been all but oblivious to the city's efforts to get them to leave. But now the people who live and work nearby are turning to a new weapon in their effort to reclaim the park.
Classical music.
A small band of neighbors is working with the police department to enlist Beethoven, Brahms and Vivaldi in their campaign to clean up one of the city's most notoriously abused public spaces.
"We want the criminals to know we are serious about taking back this park," said neighborhood activist Carol Coburn, who came up with the idea after reading about similar efforts in West Palm Beach, Fla., as well as cities in Canada and Australia."
This interesting crime fighting mechanism, classical music, has been proven to effective in cities all across the world:
"In the past, crowds of up to 25 people would hang out in the lot, which became the site of drug dealing, fights and police responses, according to Patrick Senn, store director at Saar's Market Place.
"But now, people just come and go," said Donna Fischer, a cashier at the store.
The market started using classical music about three years ago to repel loiterers and vandals from their buildings. Senn said the method appears to be working. Since he began playing the music, Senn said he hasn't called police to the lot as much, although the Seattle Police Department wasn't able to confirm that.
Businesses and transportation systems use classical, opera and country music as a crime-fighting tool around the globe.
Several Canadian cities began pumping classical and opera music from speakers in public places, such as subway platforms, to keep people from loitering. London plays classical music in 65 of its Underground stations, drawing compliments from some commuters and transit workers, according to a Transport for London spokeswoman.
...The reason certain types of music work as a crime deterrent, neurologists say, may lie in people's neurobiological responses to things they don't enjoy or find unfamiliar. Production of dopamine, a neurotransmitter linked to pleasure and rewards, is modulated by the nucleus accumbens, one of the brain's "pleasure centers."
When people hear music that they like, that stimulates dopamine production and puts them in a better mood. But when people dislike the music, their brains respond by suppressing dopamine production — souring their mood and making them avoid the music."
"Classical music is a broad term that usually refers to mainstream music produced in, or rooted in the traditions of Westernliturgical and secular music, encompassing a broad period from roughly the 9th century to present times. The central norms of this tradition became codified between 1550 and 1900, which is known as the common practice period.
European music is largely distinguished from many other non-European and popular musical forms by its system of staff notation, in use since about the 16th century. Western staff notation is used by composers to prescribe to the performer the pitch, speed, meter, individual rhythms and exact execution of a piece of music. This leaves less room for practices, such as improvisation and ad libitum ornamentation, that are frequently heard in non-European art music."
Names like Beethoven, Wagner and Tchaikovsky send shivers down Black people's spines, like nails on a chalkboard.
Why is it that Black people find classical music so abominable and unpleasant to the ears? The harmony of the many instruments working together perfectly under the skillful guidance of a conductor, or perhaps the pageantry that surrounds a formal orchestra and a concert?
“I know . . . that the most crucial time in my own development came when I was forced to recognize that I was a kind of bastard of the West; when I followed the line of my past I did not find myself in Europe but in Africa. And this meant that in some subtle way, in a really profound way, I brought to Shakespeare, Bach, Rembrandt, to the stones of Paris, to the cathedral at Chartres, and to the Empire State Building, a special attitude. These were not really my creations, they did not contain my history . . . I was an interloper; this was not my heritage.”
Movies in the United States have long been enhanced by beautiful musical scores from modern composers like James Horner, John Williams, Hans Zimmer and Howard Shore. It is this brilliant music that connects white people to the vast historical legacy they have inherited, but refuse to acknowledge.
Music is what bind us all to the past, a clear mark of refinement that goes far beyond culture, for it is an extension of the racial soul, and Black people have found their racial soul primarily through the medium of the drum. Stuff Black People Don't Like though, is classical music, for James Baldwin summed up the reason in exact detail.
Black people love music. They have excelled at numerous forms of music, from jazz to disco, pop and finally to rap music. It is one of the major contributions that they have made to the world, and through this medium they have assimilated themselves to millions of white people who normally would have nothing to do with them.
Rap music in particular, owes its main-stream success to the integration of the gangsta-rap genre with the listening habits of suburban white people, particularly white males whose only exposure to Black people came from listening to gangsta – rap in the early late 1980s and early 1990s.
Songs like Snoop Dog’s “187” were monumentally influential to a generation of rappers and had an immediate impact on tapes that white people placed into their Walkmans.
Ice-T – an occasional actor – performed the popular song “Cop Killer” in 1992, which is, about killing cops:
“The song provoked much controversy and negative reactions from politicians such as George H.W. Bush,Dan Quayleand Tipper Gore,although some defended the song on the basis of the band's First Amendment rights.”
Another gangsta rapper, similarly named after solidified water, Ice Cube, was part of Niggaz With Attitude (NWA), a hardcore gangsta rap outfit from Compton,that took the world by storm in the late 80s, forever changing the listening habits of white people with it:
But as gangsta rap slowly invaded the white suburbs, it had to move away from the hardcore, cop-killing image it had created. Thus, the Trojan horse for gangsta rap and Black people invading white people’s cassette tapes and CD players: Vanilla Ice. Yes, he got white kids listening to rap, but it was a Faustian Pact for gangsta rappers: he was a white rapper that parents found tolerable, yet a white rapper that Black audiences found unimaginably intolerable. He was a mortal blow to gangsta rap that the genre may never recover from. Whomp There It is, Tootsie Roll and other silly rap songs diluted the angry Black man message of Black solidarity and gangsta rap, and appealed primarily to white people and their pocket books. Later rappers like Sisqo cranked out goofy songs like “The Thong Song”, just to make a quick buck. Nothing of substance or of protest in favor of the Black community, just a goofy song that white people enjoyed, and specifically written for massive consumption by the white audience.
Black people sold their soul to Mephistopheles - the white devil, white people – in their bid to get big record deals and big bucks. Snoop Dog is now in PG-13 movies with Vince Vaughn and no longer rapping about the thug life. Instead:
“Rap artists have continued to produce more easygoing, melodic songs with R&B choruses. However, the likes of Kanye West, Snoop Dogg and Nelly have gone as far as to not only sing the hooks themselves, but to sing entire songs.
"Additionally, almost across the board, rappers from T.I. to Plies to Soulja Boy Tell'em have released songs with the female fans in mind, boasting about their ability to satisfy their women physically, emotionally and/or materialistically.
Have rappers gone soft?”
Take Soulja Boy Tell’em for example. He is a young rapper who one website dubbed a walking poster-child for Black stereotypes. He scored a hit in 2007 about performing a lewd act upon a female – which is one of the number one topics of rap music now – and older rappers had this to say about him:
“Critics and hip-hop figures such as Snoop Dogg and Method Mancite Soulja Boy as artistically typical of contemporary rap trends such as writing for the lucrative ringtone market, and the ascendence of "Southern hip hop", emphasizing catchy music that discards rap's traditional emphasis on message.”
Rap music, in the good old days, wasn’t about pumping out hits for white people to listen to in lily-white suburbs, but a genre to express Black angst at the world and their predicament in it. That was of course, in Pre-Obama America.
“But old habits die hard, and last week, West amended his position somewhat on "Run This Town," a new Jay-Z single on which the Chicago rapper is a featured guest. "It's crazy how you can go from being Joe Blow," West begins his rap, "to everybody on your dick—no homo." No homo, to those unfamiliar with the term, is a phrase added to statements in order to rid them of possible homosexual double-entendre. ("You've got beautiful balls," you tell your friend at the bocce game—"no homo.") No homo began life as East Harlem slang in the early '90s, and in the early aughts it entered the hip-hop lexicon via the Harlem rapper Cam'ron and his Diplomats crew.”
Yes, gangsta rap and rap music as whole is dead, a water-downed form of music that white people feel safe and comfortable listening too.
Stuff Black People Don’t Like includes the decline of gangsta rap, an art form that they perfected and then lost in a Faustian pact with the white devils. The allure of money and fame was too much for gangsta rappers so they sold their souls for vast fortunes. Not even resurrecting Tupac Shakur could save rap music now.
The following two videos show the evolution of rap music, from its hardcore, edgy past to where it might be headed...
