🇺🇸 Soul Brother. About us. Reparations are owed. Black American/Soul Black. Blues Folk/AA
NJ
Joined June 2017
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SOULBLACK retweeted
Here’s Fela Kuti saying most West Africans weren’t Interested in Jazz music.
Malcom X was half Black American. Odd to leave that out. Heres what he said about Puerto Ricans(Caribbeans, like his mother) when speaking on “including” them in compensation that is specific to Black Americans. Is he being divisive here? And stop disrespecting MLK.
SOULBLACK retweeted
People gonna listen to this white woman but, @blaculascream is from NYC too and been talking about this for minute. "People talk like Klansmen about us when they think we're not in the room"
SOULBLACK retweeted
Well, we ain’t glorying “bullying.” But trust, Black Americans joke with people so hard, people on the other end carry it to their adult hood and justify their entire feelings for our ethnic group based of getting “scored” on in 3rd grade. Lmaooo
SOULBLACK retweeted
Jamaicans literally skip the part where they got all their music culture from emulating Black American music and culture. No Ska, Rocksteady or Reggae without them emulating Black American. They learned to toast by copying BA music. You cant give us something we have y’all.
Busta Rhymes bringing out Jamaica’s finest artists on stage is the intersection we need to highlight more in Hip Hop. Hip Hop originated from Jamaican roots in the Bronx. Mcing, rhythms, and interpolations are all a part of Jamaican ska, reggae, and dancehall culture. #BETAwards
SOULBLACK retweeted
It’s obvious you don’t know your American history. Let me school you.
It's not called the "Kansas City Renaissance." It's called Kansas City jazz, and it changed the world. Basie, Moten, Mary Lou Williams, Big Joe Turner and Charlie Parker came out of 18th & Vine, and the Negro National League was founded there in 1920.
Chicago's Black Renaissance has a whole university press book about it. Armstrong's Hot Five recordings were cut there. Thomas A. Dorsey created gospel music there, and Mahalia Jackson came up in its churches. Richard Wright and Gwendolyn Brooks wrote there. Later, Record Row on South Michigan Avenue gave the world Chess and the Black-owned Vee-Jay, which released the Beatles in America before Capitol would.
Los Angeles' Central Avenue grew straight into rhythm and blues: T-Bone Walker, Charles Brown and "The Honeydripper."
These were economies, not just art scenes. There were Black-owned banks, Golden State Mutual Life Insurance, the Chicago Defender, the Dunbar Hotel and record labels, all built under Jim Crow.
Caribbean figures were in Harlem and mostly irrelevant. Nobody's erasing them. But Black American culture didn't need Harlem, or anyone else, to reach the world.
SOULBLACK retweeted
“Brother,” “Sister” and many other Black American English slang/ soul terms were used heavily by Afro Brazilian youth, even if not really understood. Gerson King, who was known as the Brazilian James Brow, was targeted by police multiple times for his lyrics being “inflammatory.”
SOULBLACK retweeted
His music called out the the hypocrisy of Brazil and he appropriated Soul to take on the responsibility of introducing “Black is Beautiful/Pride” messages to the masses of Brazil. Songs like Sou Negro (I’m Black) we’re based on James Brown and other BA Soul music.
SOULBLACK retweeted
All around Brazil, these parties would host well over a million people each weekend. Afro Brazilian youth saw Soul as an authentic expression of Blackness. James Brown was somewhat of a deity. Afro Brazilians also adopted the identity of “being black.” Emulating Black Americans.
SOULBLACK retweeted
The influence that Black American 🇺🇸 Soul on 🇧🇷 in the mid 60s and 70s is larger than you’d think. I briefly touched on this with my thread on the global reach of Black Power. But there’s much more to the story.
SOULBLACK retweeted
It was Black American music that transported ideologies of Black Pride to Brazil. In the 50s/60 Brazilians threw “Black Parties,” where they listened to BA Soul/RnB music. Similar to Jamaican “Blues Parties.” Funk and Hip Hop had a major impact on Brazilian Black consciousness.
SOULBLACK retweeted
See how hard they go against any Black American influences though….Rnb Soul, Rock and Roll all were major influences. And For one, RnB rhythms are integral to the Latin Boogaloo. Salsa music and dance also takes influences from Jazz and Swing.
SOULBLACK retweeted
So why don’t y’all combat that? Denounce our culture and refuse to engage with it. Wouldn’t that be the next step? Y’all always use this weak ass excuse. Ain’t no one forcing you to engage in our culture. Start the global movement to reject it if that’s the case.
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SOULBLACK retweeted
Taper “origin” is debated. My claim has always been, the Line up. With or without a fade. 1) Texas early 1920s Shape up and Fade. 2) NY 1924 boxed lined up. 3) 1932 Line up. It became more popular in the 70s and boomed in the 1980s, when it went global.
Wait... Black South Africans invented the Taper fade???? Eyo @BlackPowerBA come this side!
Taper “origin” is debated. My claim has always been, the Line up. With or without a fade. 1) Texas early 1920s Shape up and Fade. 2) NY 1924 boxed lined up. 3) 1932 Line up. It became more popular in the 70s and boomed in the 1980s, when it went global.
Wait... Black South Africans invented the Taper fade???? Eyo @BlackPowerBA come this side!
SOULBLACK retweeted
This I super false. In the early days of Hip Hop , Puerto Rican’s were there participating, but they didn’t contribute until the second wave of Breaking. Here’s Charlie chase talking about how laying Hip Hop as a Hispanic. It’s Black American music and culture. Stop.