Jazz and Black Politics In the 1920s

October 11, 2020 Hunter Wallace Aesthetics, Culture, History, Modernism, Music, Negroes, Race Relations 42

This is interesting.

The following excerpt comes from Stanley Coben’s book Rebellion Against Victorianism: The Impetus for Cultural Change in 1920s America:

“The Victorian color caste system was challenged most comprehensively during the 1920s by Marcus Garvey and W.E.B. Du Bois. Despite their sound ideas and vigorous efforts, neither man accomplished much to raise the position of American blacks – nor could they. White racism remained too formidable, and it had left blacks without the experience, knowledge or financial capital necessary to make successful use of these leaders’ programs. Nevertheless, Garvey and Du Bois did arouse blacks to action and they left a valuable heritage of their experience and concepts to future generations.”

Marcus Garvey and W.E.B. Du Bois didn’t have much success in challenging the Victorian racial caste system with black politics in the 1920s. It wasn’t a total loss though. Oscar Stanton De Priest was elected as the first black congressman of the 20th century from Chicago in 1929.

In the 1920s and 1930s, W.E.B. Du Bois was despondent about the prospects for blacks in America at exactly the moment when race relations were about to radically change because White racial attitudes were changing because of the impact of jazz and Modernism on White youth culture.

“One of the most destructive of these activities to Victorian concepts arose from the sudden release of black speech, jazz, blues, and dances into white American society. Previously, those had been contained largely in black enclaves, especially in the rural South. By the 1920s, nightclubs and speakeasies in black areas of northern cities attracted white jazz fans who felt that “real” jazz could be heard only in its “natural” surroundings. In addition, novels, stories, and poems of black protest and musical shows featuring black social dances all proved alluring to white audiences. A high proportion of younger whites found black styles irresistible, often because they wanted to act and look up to date and to free themselves from restrictive Victorianism. Most of their elders lacked the audacity to open themselves to black styles, and they projected onto these their deepest fears and most repressed wishes. Those black styles have continued to affect profoundly white music, dance, speech, dress, demeanor, and literature.”

This is an understatement.

From jazz to rap and hip hop, blacks have negatively influenced White culture mainly through music. Modernists soaking up this shit in speakeasies and nightclubs, particularly in New York City, is closely related to why “antiracism” suddenly gained traction around this time.

The following excerpt comes from George Donelson Moss’s book The Rise of Modern America: A History of the American People, 1890-1945:

“The Jazz Age, as the 1920s was sometimes called, owed its name to the music created by African American musicians working in New Orleans at the turn of the century. By the 1920s it had spread to the rest of the country. White musicians learned to play jazz, and white audiences gathered to listen and to dance. Jazz was endlessly experimental, and the best jazz musicians were inspired improvisers. Jazz provided a way for African Americans to express symbolically their resentments and frustrations at the constraints imposed on their lives, and it also expressed their joy and a sense of community. Jazz also served as a call for freedom and rebellion. It appealed to young middle-class whites rebelling against the Victorian restraints imposed by their parents.”

As we have already seen, some of the first Whites to become deracinated and antiracist in the 1920s were the White jazz musicians.

The following excerpt comes from Nathan Miller’s book New World Coming: The 1920s and the Making of Modern America:

“White youths – Eddie Condon, Muggsy Spanier, Pee Wee Russell, Bix Beiberbecke, Mezz Mezzrow, Jimmy McPartland, and others – haunted places like the Lincoln Gardens on the South Side to listen in awe to Armstrong and other black musicians, and then tried to make similar sounds leavened with some touches of their own. Bud Freedman remembered that the doorman of the Gardens, who weighed 350 pounds, always greeted them with the same words: “I see you boys are here for your music lessons tonight” …

The hot, wild sound produced by the jazz musicians was a symbol of their lifestyle. Bootleg booze, women, and dope were all hazards of the job. Bix Beiderbecke, the master cornetist who was first attracted to jazz by jearing Louis Armstrong play on a passing riverboat, destroyed himself with liquor at the age of twenty-eight. “I think one of the reasons he drank so much was that he was a perfectionist and wanted to do more with music than any man possibly could,” observed Jimmy McPartland. Nevertheless, as clarinetist and bandleader Artie Shaw noted, “While there were some musicians who did a fair amount of boozing and whoring around and marijuana smoking, there was also a hell of a lot of damn good honest jazz being played.”

This is a common thread with modernists.

Bix Beiderbecke died when he was 28-years-old from his degenerate modernist lifestyle. Their lives are a total disaster because of their libertine values which are reflected in their rough lifestyles. F. Scott Fitzgerald became an alcoholic and died when he was 44-years-old. Zelda Fitzgerald ended up in a mental hospital. Ernest Hemingway shot himself. After condemning “American civilization” as philistine, Harold Stearns ended up a laughingstock passed out drunk at that café in Paris.

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40 Comments

  1. Brass Instruments were almost stereotypical white working class before the rebranding of jazz. Think mining pit brass bands.

  2. All interesting commentary, but I don’t think “black culture” enjoyed such universal
    appeal as the authors of these books suggest. Whites were relegated to second class citizenship by Brown v. Bd. Ed. (1954), Civil Rights Act 1964, Voting Rights Act 1965 and Fair Housing Act 1968, and many other “civil rights” laws that stripped whites of their civil rights of freedom of association and freedom of contract, among other rights. It was raw political power bolstered by Jewish subversion and money, not black culture that has conquered white people. Not that “black culture” isn’t decadent and destructive, I just don’t think its appeal is as powerful as these authors. Unsupported by Jewish money and power, it would not have achieved much popularity.

    Marcus Garvey actually promulgated a very positive agenda for uplifting blacks that emphasized black economic progress and racial separation. Garvey was railroaded by corrupt Zionist Jewish DOJ and a Zionist judge, John Mack, who convicted him on bogus “Mail fraud” charges and deported him out of the US. The NAACP lobbied for the criminal prosecution of Garvey, who correctly identified the NAACP as a “Jewish” organization.

  3. If a society plunges into the abyss because people listened to jazz, it means jazz was not the problem.

    Jazz has long been popular in Japan, and other forms of black music have influenced their music as well, but the country didn’t convert to black worship because of it. Rap and hiphop still aren’t particularly popular there. In fact you can hardly find any Western music on their charts, as it’s almost all Japanese.

    The most popular single in Japan in 2019 and 2018 was this:
    https://www.youtube.com/watch?v=SX_ViT4Ra7k

    In America, it was these two:
    https://www.youtube.com/watch?v=r7qovpFAGrQ
    https://www.youtube.com/watch?v=xpVfcZ0ZcFM

    How can Japan resist and even challenge the cultural behemoth that is America, while American culture, politics and daily life now revolve mostly around their black minority population? Because a hundred years ago some whites listened to jazz? No, because whites have a sickness of the mind and have given up control of their society and actively work against it. Blacks also used to be good at making music, and had producers make good music for them, when whites still had some control over America.

    • The fact that Japan has no significant physical presence of a minority population probably makes a very important difference.

      • True. The Caucasian-appearing Ainu people were once the majority, very long ago. Now they are a tiny minority and only on Hokkaido.

    • And then, of course, there’s this enchanting bit of traditional Japanese culture …

      • PS I’m probably not the only one here, at Occidental Dissent, who notices that this video is one more reason to love and admire the Japanese, who are so civilized that they can’t even pretend to be uncivilized, in a music video. The “weapon” that’s drawn at 1:40 isn’t really a blade, tears no skin (visibly), and draws virtually no blood. For all the glowering or glaring or whatever it is that the characters are imitating, from black rappers—along with the hunched, rolling stride and, of course, the non-semiotic hand and arm movements of same—there’s a happy ending, of fraternity. Even the garb of the two main characters is cooler than anything I’ve seen in black rap. Good record, too.

        • I figured you’d cite, in response to my post, some sort of YouTube view-count comparison. What really bothered me about your original post was the following:

          “In fact you can hardly find any Western music on their charts, as it’s almost all Japanese.”

          That might be true in the sense that the performers and the songs and the records are Japanese; but from the little bit of Japanese pop music to which I gave some attention, oh, a quarter-century or so ago—as well as the video you just linked—I’d say all their music is Western. That quarter-century ago, when a friend whom I’ve already mentioned here, at Occidental Dissent, showed me some video recordings of Japanese TV, recordings he himself had made in Tokyo, the Japanese seemed to have their own version of MTV, with their own versions of every kind of American-favored pop of the time. There was a Japanese David Bowie and a Japanese whatever—like a Japanese Brandy and Monica, two young black women who had a hit around that time in the U.S. The video you just linked is rock, with traditional Japanese scene-and-costume—a bit stylized, probably. It’s fun, it’s great—and if I were Japanese, I’d probably be nuts for it—but it’s Western—neo-Japanese, if you want a coinage for it.

          So—really, I’m probably agreeing with your original post’s thrust: the problem is an Aryan sickness, not black music itself, which is really good. I was just posting, in response to your post, a semi-objection, as I just clarified above.

          • Statistics matter because they tell us what is and isn’t popular, and rap isn’t very popular. I’ve also heard thousands of anime themes, and rap is rarely among them. Off-hand, I can only think of two. I pointed out the lack of Western music on Japanese charts because it shows that their music scene is very independent.

            Of course modern Japanese music is mostly based on Western musical theory, instruments and genres, but almost everything in the world has been touched by Western culture and technology. And the West is really a collection of different countries and cultures like America, Britain and Germany, and they can’t act like they invented everything in a vacuum by themselves in their perfectly self-referential cultural bubbles. What would American music be like today if Gregorian chanting had never been developed, or if the British Invasion had not happened, or if black slaves had never been brought into the country?

            By the time modern popular music started emerging, Japan had already become a modern nation itself, and later went on to influence the global development of music. Roland’s drum machines and synthesizers were critical to the development of electronic music, and Roland spearheaded the development of the MIDI standard. The sound chips of Yamaha and other Japanese companies largely defined the sound of game consoles and PCs until the late 90s. Yamaha also developed the Vocaloid singing synthesis software which has since then become a genre of sorts (the video I posted previously is actually a cover of a popular Vocaloid song). Recently, City Pop has influenced the development of Vaporwave and Future Funk in the West. My point here is that Japan isn’t just a passive receiver of Western ideas, and that cultures aren’t static or self-contained.

            Despite all its Western influences and foundations, Japanese music isn’t the same thing in a different language. It sounds different across the board, even without any vocals, and there are genres and styles that were developed in Japan. Jpop doesn’t appeal to Americans anywhere near as well as Kpop is because it doesn’t have that modern rap/club music sound and aesthetic that people want.

            “Even the video you linked in your original post struck me as an odd choice in support of your contention that current Japanese pop is, well, Japanese. The background group included blacks, the male lead was doing a James-Dean-broodingness thing, and the vocalizing struck me as R&B-ish (though the language barrier made it hard for me to tell).”

            The point wasn’t that it’s 100% Japanese made in a culturally pure vacuum (which I was never arguing because it’s an absurdity), but that it’s not rap, let alone modern rap. It’s actual music, and skill and effort was put into it. It has some influences from R&B and maybe hiphop, but isn’t either of those. It’s a combination of many things. It’s not “black.” A similar pop example is Koisuru Fortune Cookie by AKB48:
            https://www.youtube.com/watch?v=dFf4AgBNR1E

            It opens with a speech from a black DJ and is disco/funk in style, but it’s not even in the same decade or solar system as Drake.

            If we go back all the way to 1982’s Ride on Time by Tatsurou Yamashita, there are black influences too:
            https://www.youtube.com/watch?v=1rdlHKioR6A

            Or the 1997 anime classic Komm süsser Tod, which has gospel influences (not by accident, given the Christian motifs of the story):
            https://www.youtube.com/watch?v=tL6aoIPpNmg

            It’s not about an impossible cultural purity, it’s about not following the worst black impulses and jumping into the gutter with them, which is what America has done.

          • Thanks, someone, for that great overview of the subject. I learned plenty and enjoyed the three recordings you linked. In fact, I’ll return to Koisuru Fortune Cookie as soon as I’ll have posted the present comment.

            Because I was in my early-to-mid twenties, with my musical tastes formed, when rap began to surface, in the latter ’70s, only a handful of the many thousands of rap recordings have caught my ear (across four-decades-plus); but I’m a bit surprised by your implication that modern rap is not “actual music, [with] skill and effort … put into it.” The very-little bit of it that catches my ear or eye can seem to me, yes, pretty fierce, but I don’t get the impression no skill or effort has been deployed in its creation. When I asked a now-dead childhood friend of mine, those forty-some years ago, what he thought of rap—i.e., when it was first on the scene—he looked at me with surprise and said, “It’s not music.” He was quite a good pianist and had never seemed to me someone who wouldn’t give something new a chance, but there it was—that statement that I still seem to encounter, in YouTube comments and the like, after twoscore years: “It’s not music.” To me, it seems to be music in some sense of the word.

          • By modern rap I mean the popular stuff like Drake. It’s very hard to even tell one song apart from the next because it’s all the same low energy autotuned nonsense + shitty beats with little else going on. It’s near-zero effort and sounds like it’s made by and for heavily medicated people. Very different from the rap of the past that I used to hear on the radio and see on TV.

        • PS someone —

          As long as I’m holding forth here, I’ll add three things:

          1 — Even the video you linked in your original post struck me as an odd choice in support of your contention that current Japanese pop is, well, Japanese. The background group included blacks, the male lead was doing a James-Dean-broodingness thing, and the vocalizing struck me as R&B-ish (though the language barrier made it hard for me to tell).

          2 — About fifteen years ago, at the wedding reception of a daughter of a first cousin of mine, I was struck by the limitations of rock. Because the parent-tier guests, including me, were about fifty, the DJ played a lot of dance music from the ’70s and ’80s, I guess it was. As a rock fan, I’d always given that music, like Kool & The Gang’s “Celebration,” little attention; but it had all the guests, young and old, up on the dance floor. On the other hand, the dance floor went astonishingly, instantly vacant the moment the DJ threw in, for a bit of change, AC/DC’s “You Shook Me All Night Long,” a rock song with what I’d always considered a great beat.

          3 — Considering the thousands of great and successful recordings by black Americans over the past century, I’m silly, in a sense, to be pointing out one of those in particular; but some years ago, when I watched the video of 1982’s “Early in the Morning” by the Gap Band, I was struck, as I’d never quite been struck before, by the uniqueness of musical blackness. The song-form, the harmonic structure, the musical instruments, yes, are Western; but blacks have brought to all that a uniquely-infectious liveliness that, over the past half-century, has fossilized virtually every other musical tradition, worldwide, just as the Western painting of the early twentieth century fossilized every other visual tradition. Here it is …

  5. If you want to be ultra literal about things, the only music that doesn’t have african influence is heavy metal. it’s based on classical playing and chromatisim instead of blues. Rock and country come from blues influence. But I’m not that asinine. I think blaming jazz music is pretty ridiculous to be honest.

    • Heavy Metal appeals to the anti social types though. During the 80’s in High School although there were a few nerd into Heavy Metal, the genre basically was embraced by all the bad kids from Broken Homes. There was this whole “burnout” type subculture back then, disproportionately full of the children of divorce, and the uniform was blue jeans, a blue jeans jacket with a black patch covering the back with hellish type imagery from Heavy Metal bands, a mullet, and usually a peach fuzz mustache the kid was trying to grow. Drug use and poor academic performance usually were co-morbid. I think this “Electric Guitar” type music having gone away is a good thing even though the current pop star thing with some bimbo mouthing music and hyper-sexualized lyrics written for her by homosexuals is just as bad.

    • While the degenerative effects of Jewish-marketed ‘black’ music on Western countries are undeniable, do please remeber that these music forms are perversions of the real thing:

      The history of ‘blues’, asis commonly and wrongly taught (due to deliberate misinformation from TV documentaries and suchlike) goes soemthing like this:

      most forms of modern popular music trace their origins back to the blues, which was developed by secular black musicians whol took it from black gospel music who themselves adopted the sound from early African slaves who brought the specific tonality of the blues with them from Africa.

      Though this is still commonly taught and promoted, it’s long been proven wrong. Virtually any academic studying music will know this.

      The REAL history of the blues is as follows:
      (Do please doublecheck what I say with reputable sources, and then, having assured yourself that the account I set out for you here is true, please spread the word so that a new genreration of musicians can reconnect with thierk musical heritage):

      The tonality instantly recognisable as ‘the blues’ developed in certain Scottish Protestant churches during the practice Gaelic Psalm snging. (This music itslef was a distillation of the folk music of the British Isles, i.e. England, Scotland, Wales, not to mention Ireland and European folk music in general, as well as influences from religious vocal music going back to the 12th Century Notredame and a spattering of classical musici influences too).

      Even the call-and-response of the blues came from the British people out in the farm fields working away. The simple, 3 chord harmonic pattern underpinning Gaelic Psalm singing (and later, all blues songs), which is composed of the tonic chord, the major 4th, and the dominant 7th (e.g. E, A, B7 if you were in the key of E major), comes from English hymns.

      During the 19th century a fair number of Scots emmigrated to America and settled there, taking the unique Gaelic Psalm singing religious music with them. Other British settlers to America brought their more standard hyms with them.

      The blacks in America who heard this music from the SCottish/Britsh settlers simply copied it lock, stock and barrel, for their own Christian worship. Thus, so called ‘black’ gospel music was born, and this in turn eventually spilled over into secular black music, where the lyrics were changed to incorporate everyday vices and concerns of those early ‘bles’ musicians.

      And that is the birth of the blues (and of white country music/American folk too, although, obviously there are further influences of Irish/European folk ballads too. I

      In conclusion, the ‘blues’, despite what the media would have you believe, had nothing to do with Africa, nor Africans. It is and was white in origin, though that’s not to negate the contributions of genuinely talented black musicians in this genre. But, like classical music, it’s Western to tis very soul.

      So never feel torn about playing/listening to this music, it’s your heritage (just don’t ever accept the legtimasy of anyone trying to use blues/jazz music as vehicle for multiculturalism or some such Marxist/Globalist/Jewish nonsence).

      Incidentally, much to the annoyance of everyone pushing the replacement of white people, the first Jazz record was by a white man too! 🙂

      PS I’m using a browser without a spellchecker, so do excuse any typos in my hastlily written comment LOL.

      Yours sincerely,
      JB

  6. Black speech in America, is more or less bastardised Southron. But I’ve noticed recently that many non-Southern Whites have begun using some Southern idioms and slang.

  7. Jazz should’t even be in the same negative societal influence category as rap how you think they are exactly the same equal toxic influences is beyond me. Jazz isn’t totally exempt from critique but its takes a great amount of learned skill to play there is good jazz out there its not all bad tho alot of it is shit especially the long boring freeform stuff

    Where Rap is openly all about anti white attitudes, repetition of swears nword, selling drugs, murdering your rivals, and selling whores I’m not saying jazz was wholesome Christian fun far from it but not nearly as violent or toxic as rap

    • I really don’t like that “beebop” type jazz from the 50s, but the Smooth Jazz Genre I do enjoy. It’s pretty much instrumental, no degenerate lyrics, and the sound is mellow and civil, not violent and anti-social like that burnout electric guitar crap that started with Lead Zeppelin and was embraced by the dregs of the white community from 1970-1995 or so. Ken Burns did a whole series on Jazz and it started out with this awful bombastic New Orleans Jazz from the early 20th century.

      • Yep I hate loud noisy horn blowing type jazz Nightowl usually unless its really creative. I much prefer piano/keyboard lead jazz quite contemplative instrumental music you can put on as background music while you’re working, the type that relieves stress and anger.

        I’ll list some of my favorite jazz instrumentals to give you jazz hating nationalists to listen too Horace Silver- Song for my father
        Coltrane- My favorite things based on the original annoying song from the musical sound of music
        Pat Metheny- Red Sky, Long train home
        Manvishnu orchestra- Power of love, Birds of fire, A lotus on irish springs, open country joy Bill Evans- symbosis, waltz for debby, turn out the stars

        I’ll post more recommendations later if ya’ll like but I sort of busy today. Long story short jazz isn’t the problem libtards are and libtards today are definitely not listening to jazz they are listening to Rap, RnB, lady gaga, beyonce and fat bitch Lizzo You actually have to have a intelligent working brain to be able to listen to ‘n appreciate jazz and this is something libtards lack

  9. Some years ago, I watched Sixty Minutes where a black civil rights leader mentioned that the way to win was to get white kids to listen to ‘our’ music, and once they were converted culturally, they would follow the political views. I thought this was unusual to have this expressed so openly.

    Jazz is the official music of the white power structure. Note how they always have Jazz festivals, and Jazz ‘artists’ are revered and their passing noted on the news…much more so than any classical performer.

    In movies and TV, over and over, it is demonstrated that a white musician, when he really wants to be a serious performer, wants to play jazz and is in thrall of some black performer. Saw this in The Fabulous Baker Boys and LALA Land, just to name a couple. It’s often felt Jazz and R&B are more ‘authentic’ music than classical, since it deals with ‘suffering’ and folk instincts. White folk music can easily be ignored.

    I note a lot of Jews keep proclaiming that Jazz is ‘the only authentic, native American music.’ Any American composer before Jazz is derided for having written ‘Germanic’ music imitative of Europe.

    It was noted in the fifties (before the recent series on the twenties), that there was a serious plan to disseminate rock and roll to the whites, and it was felt Elvis Presley was the perfect ‘white man to push black music.’ Also, there was a backlash of sorts. Pat Boone was pushed forward as an example of a counter to Rock and Roll. Boone noted he and Elvis were both Tennessee boys, and Elvis chose one path and he another.

    Jazz also was very popular with Europeans wanting to show how modern and ‘American’ they were.
    We’ve all heard of the cabaret scene in Berlin, somewhat overruffed with the musical Cabaret.
    The Nazis opposed jazz, or ‘negro-Jewish’ music, as they put it, but there was no real repression, because it was just too popular. As the Israeli journalist Walter Laquer noted, in Nazi Germany, if you changed the name from Jazz to ‘Swing’, you were pretty much left alone.

    Interestingly enough, Stalin hated Jazz, and for a while was very receptive to country & western, because it was considered American music from the working class, so in the early fifties, a lot of C&W was pumped into Russia and the eastern bloc.

  10. Jazz is Nigger music. No doubt about that. Every culture has been brought down by degenerate music. That is one of the main reasons Hitler called certain types of music, ‘Degenerate.’ This has been known since the early days of the Church. And it’s why the Presbyterians were Psalm-singers, in early America.

    “The vehemence of the polemic against instruments is primarily accounted for by the association of musical instruments with sexual immorality,2 an issue on which third- and fourth-century Church Fathers were extremely sensitive. This was especially true of fourth-century Fathers like Chrysostom and Jerome who wrote after the political establishment of Christianity and were thus confronted with the moral problems posed by mass conversions. Instruments were also associated with pagan rites, which helps to explain the antagonism towards them expressed by the third-century Fathers in particular. ”
    https://www.catholicculture.org/culture/library/view.cfm?recnum=9134

    That’s also why modern Prot assemblies are GRACELESS< GODLESS< AND CHRISTLESS.
    Ever been to a [sic] 'worship service' at an Evan–jelly-goo [sic] 'Church'!?!

    It's like a bloody rock concert. NO H.S. there!

    • Hitler spent so much time combating degenerate jazz music rather then finding a common bond with Slavs, but especially Poles . This was his biggest fault he was a petty obsessed racialist and for his long list of anti-pole actions I could never ever admire him like some so fervently and blindly do

      Protestant churches differ from my experience with different sects that I have been in. I loathe tele-evangelicists, their warmongering evil zionist stance and the phony mega church scene. My experience varies but I Didn’t like the ones who combined Christian rock backing band with the sermon and church service but to call them godless or christless is slander and a outright lie and you know it!

  11. Any art, music or culture that blacks create should be banished and ignored. Rap music is probably on of the most destructive things to come out of the black community because it spread so fast into White culture. Rap has been extremely damaging to this nation.

    • Seems if you play some sort of horn, you can get a job at NPR just playing notes as background to some young liberal bimbo mouthing word salad that seems to be the format of a lot of their shows. NPR also wastes taxpayer money on ridiculously overpowered transmitters. Most of my towns radio stations fade out at about 40 miles, the local NPR on the other hand came in loud and clear 250 miles away as I was driving through Kalamazoo.

  13. Black’s collective low IQ makes for them being illiterate in writing and reading western music.

    Blacks do have a natural instinct with rhythm and harmony.

    Rag time, Blues, Jazz bridge western music and their instinct using the techniques of improvisation, via lack of reading and writing notated western music.

    A lot of whites get overly impressed about black jazz improvisation, even Japanese are dazzled by it.

    Improvisation is just making things up on the spot working on a melodic and rhythm frame work.

    How many rock n roll songs use 12 bar blues with the pentatonic scale, Endless to say the least.

    Note:
    Jimmy Hendrix couldn’t read a note,

    Note:

    Never a good pun!

  15. JB, another derivative ancestor of blues is mouth music, sung in Scotland and Ireland, using no instruments. It sort of sounds like rap, but the tonality is different, and has more of a monotonous sound, but is pretty powerful. I also sing music of the Sacred Harp, early white spirituals that were developed in America, but also have roots in northern England. In it, men and women sit in different sections, and really has a lot of power, although most amateur groups don’t get that wild, and begins with a leader going a ‘fa-so-la’ tune, then the rest join in.
    It’s also extremely social, and Sacred Harp conventions, especially in the south, have weekends with sleepovers, potlucks, and very social, but New England has them as well.

    Some think Jazz’s strength is improvisation, and they’ve compared it to Baroque music, where musicians were always expected to improvise on there written score. Bach was a master at this, but many other composers were as well.
    Alejo Carpentier, a Cuban novelist, wrote Concierto Barroco, supposedly showing a Spanish colonial official traveling to Italy with his black servant, and in Venice, the servant does jazz and plays with Handel, Vivaldi, etc.
    I think the comparisons are farfetched, but a lot of musicians and academics swear by it. Still prefer baroque to jazz.
    NPR always playing jazz? Like I said, it’s the official music of the ruling class in America.
    Yeah, all that background tootling on NPR, along with a dozen tired, nasal, droning Jewish voices. They seem to get them all from the same place.

  16. No doubt blacks played a role in jazz, blues, rock, R&B, disco, and rap, BUT Western civ. played a more dominant and indispensable role. Any contribution blacks have made to entertainment required a Western education, upbringing, and setting. If blacks could have done it without any help from Europeans, why didn’t any of those musical genres come out of Sub-Saharan Africa? That’s why I disagree with Hunter and fake Father John with their wrong classification of them as “black music” when it’s really Western music.
    Oh, and most of those innovative “blacks” were light skinned and multiracial, not pure jet black Negroes. In the end, it’s all about nature, evolution, IQ, race, and culture.

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