Russian PAWG Breaks Down Why The Russian PAWG Community Has So Much Love For Black American Men

[TELL ME YA CHEESIN FAM?]

Stay Salty breh

Be a c00n breh

Also be a loser breh

Be a c00n loser impersonating another c00n breh breh

 

[NY's #1 Draft Pick]

Going to Moscow in July

Finna eat brehs

 

[The PrettyGod!!!]

Charles Manson was right... I wonder do dudes who hate white men, but love white women, secretly want to be white men themselves. Certain black men love the white woman, more than the white man. I see so many rich black athletes make poor, white women millionaires.

 

[loyola llothta]

Russia is one of the most racist and nationalistic countries in the world. Several black men and women have been assaulted or killed in that very same country.

Wait is this true

 

[HoloGraphic]

Teya Salat. Look her up brehs.

 

[Prince Akeem]

Wait is this true

Yes.

 

[ezrathegreat]

Wait is this true

See for yourself.

 

[IllmaticDelta]

Im only in here to respond to what Im quoting. I don't care about that other shyt yall talking about

oh yea, man france we were treated better than white americans. granted my mom speaks fluent french and they were like
I remember the tour guide dude gave us a free bottle of wine, them cacs were SOUR They kept talking about jazz and my dad is from NOLA. they were superrrrrr star struck. shyt was crazy lol. I didnt even know AAs found refuge in Paris after WW2, I was young those days and learned all that shyt. Anita Baker and all them. France was head over heels for AAs. and a lot of jazz musicians up and left for France.

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The history of Aframs in France is pretty deep even before Jazz took off. The Jazz musicians of the era all said they were treated like god over there

when jazz took over

Paris. Nowhere else in the world were Black writers, artists, musicians, and intellectuals able to nurture and display their talent unfettered by the racism they experienced in the United States. The result is a legacy of fantastic, groundbreaking cultural exchange that has enriched both the American and French cultures.

Taking the miniscule sidewalk of Quai St Michel and heading away from Notre Dame, the tiny Rue Git-le-Coeur leads to the site of the former rooming house where Chester Himes came up with his first detective novel. The French devour the detective genre, and awarded the book (which became the movie, A Rage In Harlem) a top literary prize in 1957. His series sold like hotcakes, affording him a penthouse apartment in neighboring upscale St.Germain-des-Pres.

Since the 1920s, La Hotel Louisiane's guest list has been a who's who of the music, art and literary world. Among frequent guests was Miles Davis, described by the French culture minister as "the Picasso of Jazz".

For centuries the Left Bank has been home and muse to writers. For African-American expatriates, it was along these cobblestone streets that they gained perspective and freedom of movement to reflect on their lives before and during their Paris years. James Baldwin arrived penniless in 1948, an unlikely motivator that fueled some finely observant essays, including his Notes of A Native Son (1955). And wherever he wrote he made home, be it grungy lodgings in the former marketplace that was Les Halles, a cold water flat one block from the River Seine or a bit too close to the bells of St Sulpice church. During that same effervescent yet politically turbulent period, Richard Wright spent hours debating with intellectuals Jean-Paul Sartre and Simone de Beauvoir in the famous literary cafe hotspots, Cafe de Flore and Deux Magots, and the American-frequented Cafe Tournon near the Luxembourg Gardens. New ideas from these enlightening discussions injected his future novels and essays with a more global outlook. Through Wright, the French intellectuals and press gained first hand knowledge of the African-American experience at home and further sided with the Black American plight. An honorary plaque identifying Wright as "L'homme de lettres Noir American" stands outside his former home on Rue Monsieur LePrince.

Cafe de Flore was a lively place of discussion for African-American and French intellectuals.

This famous arts district near the Louvre Museum was home and studio to several African-American artists. But the post-WWII writers weren't the first to take advantage of France's creed of freedom, equality and brotherhood. Anna Julia Cooper earned her PhD at the Sorbonne in 1925 at the age of 67. Across town, near the Champs-Elysees, W.E.B. DuBois, founder of the NAACP (National Assn for the Advancement of Colored People), created a groundbreaking exhibition for the 1900 World's Fair held at the Petit Palais museum. His goal was to correct the stereotype that all American Blacks still lived in post-slavery poverty. The resulting exhibition of photographs showed off a thriving Black middle and upper class and won a gold medal. Paris was the center of the art universe at the turn of the 20th century. Students of all nationalities flocked to the new art schools that took the overflow from the University of Paris' Faculty of Fine Arts in St.Germain-des-Pres behind the Louvre. This arts district was home and studio for several African- American artists also seeking to infuse their work with the European sensibility. One such was Philadelphian Henry Ossawa Tanner on Rue de Seine. Tanner may have gotten thrown out of art school in his native U.S. because of his race but in Paris, his prize-winning painting 'The Rising of Lazarus' became a beacon of exceptional talent as it adorned the hallowed walls of the Louvre in the early 1900s. Dozens of young African-American artists such as Palmer Hayden, Archibald Motely, Meta Vaux Warrick and Hale Woodruff tapped on his door for advice during the 1920s and 30s.
While browsing the eclectic galleries that line Rue de Seine, stop for refreshment or a traditional meal at La Palette on the corner of Rue Jacques Caillot. Regulars James Baldwin and painter Beauford Delaney also gazed at the same time-warp dark interior, brightened by dozens of original paintings hanging from the mahogany walls.

Jazz, of course, is the most well-known point of cultural exchange between Black America and France. It marched into French hearts during World War I by the Harlem Hellfighters soldiers/jazz band and has never left. During the Roaring 20s, African-American musicians, entertainers, writers, and entrepreneurs flocked to the Lower Montmartre district, just south of the bawdy Moulin Rouge, turning the sloping streets into a vibrant African-American community. There's no sign of that influential community today but for history's sake it's worth taking the short jaunt from Place Pigalle to pay tribute to the golden block where Black music nurtured a radical change in French arts and culture then turned this city into the jazz capital of Europe.

The Moulin Rouge district was a hotbed of jazz music as early as World War I.

During those early days, clubs in Lower Montmartre could hardly satisfy the public's craving for this nimble music that helped people forget wartime hardships. While the French owned several of the major venues, the very best clubs were managed or owned by African Americans. On the corner of Rue Fontaine and Rue Pigalle, a fiery redhead named Bricktop spun the latest records, taught the Prince of Wales to Charleston, and spurred a rivalry between F. Scott Fitzgerald and Cole Porter. She also allowed fresh-faced French musicians, Stephane Grapelli and Django Reinhardt, to soak up the new music night after night until they went on to form the first professional French jazz quintet. On that same corner, young Langston Hughes created the first jazz poetry while he washed dishes in the club's kitchen. Just up the block, amidst dozens of traditional cabarets, the Queen of Parisian Nights, Josephine Baker dazzled in her own 'Chez Josephine' restaurant.

Place Josephine Baker in Paris's 14th district reflects French respect for this well-honored African- American, a hero of France.
Of all the African-American expatriates, Baker left the deepest mark on France and Paris. Not just an entertainer, she became a French citizen in 1937 and was awarded several medals for her spying and assistance in the French Resistance movement during WWII. She was also admired for her humanitarian spirit in adopting twelve children of different nationalities. A fitting marker stands in her honor at Place Josephine Baker one block east of the Montparnasse Tower near the site of her last concert.

Though most of the post-WWII jazz settled into the intimate clubs of St.Germain-des-Pres, the Latin Quarter, and around the Champs-Elysees, few of the originals remain. At the Caveau de la Huchette, however, a stone's throw from Notre Dame Cathedral, fans are still dancing to the swing and big band sounds of Sidney Bechet and Louis Armstrong. All styles of jazz ring out these days in clubs around Les Halles, Montparnasse, live performances on street corners and during the many jazz festivals. And don't be surprised at the posters for African- American-inspired gospel, now dominated by French and African groups, as well as rap and hip hop.
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[IllmaticDelta]

The history of Jazz in Paris
Written by Margo Lestz


The sound of summer in France is definitely sweeter with jazz. Those melodies energize music-lovers from open-back stages overlooking the Mediterranean, waft over crowded terraces near Les Halles, or mellow out cool clubs in Normandy. Jazz has become an international language, influencing many cultures. It was introduced first in France by African American soldiers. Julia Browne Founder and CEO of Walking The Spirit Tours - Black Paris & Beyond tells the story…

During World War 1, segregated troops of black soldiers marched their lively music through 2,000 miles of tiny farm villages and big concert halls across France. Their leader was Lt. James Reese Europe, a well-respected New York bandleader. Everywhere he led his 369th Harlem Infantry Regiment band and they created an exciting musical revolution. The story is still repeatedly told how the first time the French heard jazz they couldn’t fathom what kind of music it was, or how the instruments were making those unheard-of sounds.

After the war, many musicians, as well as dancers and entertainers, returned, settled and delighted cabarets and club audiences in Paris’ Lower Montmartre, which became known as Black Montmartre. Club owners and club-goers from all over the world couldn’t get enough of the syncopated rhythms. Numerous local musicians, on the other hand, weren’t thrilled to be pressured into learning this foreign American music.

Fortunately there were insightful fans who saw the future of French music in jazz and began the quest of elevating this so-called American ‘pop’ music to an art form. Two jazz lovers, Hughes Panassié and Charles Delauney, formed the groundbreaking Jazz Hot Club to promote the acceptance of jazz in France and abroad. They went on to launch the first Jazz Magazine in Europe. From their locale near Rue Pigalle, they invited eager young musicians into their workshop space where they could try out the new sounds and meet the American masters. It didn’t take long for two of their protégés, Django Reinhardt and Stephane Grapelli, to form the first real French jazz band, the Jazz Hot Quintet, and tour the regions in the 30s, spreading the jazz gospel.

But the Nazi occupation of Paris forced the American jazzmen and entertainers back home and outlawed the playing of what they called ‘degenerate Negro music’ on the airwaves and in public places. The Parisian fans however, weren’t about to let go of their newfound passion. They simply took their well-worn New Orleans-style records and set up clandestine clubs in the soundproof underground cellars of St.Germain-des-Pres and the Latin Quarter.

But with no Americans around to show them the chops, and no new records being pressed and distributed, the young French musicians resorted to imitating their precious Jelly Roll Morton, Sidney Bechet, Louis Armstrong and Cab Calloway records.

The Soundtrack of St.Germain-des-Pres
After WWII, thousands of French youth flocked to Paris. They gathered by day in the smoky literary cafés – Le Café Flore, Les Deux Magots – then around midnight headed for the jazz clubs.



Leading the pack was a lanky, balding, ambitious engineer, writer and poet Boris Vian. His nickname became The White Negro for his obsession with Black music and culture. Not surprising he was the one, in April 1947, to open the most infamous of the area’s clubs – The Tabou Club, on rue Dauphine.

Return of the Masters


African American musicians blazed a triumphant return to Paris, picking up where their 1920s predecessors had left off. Invited to perform in the first Festival International de Jazz in Paris, which began in1948, were luminaries like Dizzy Gillespie, Coleman Hawkins, and Kenny Clarke. The following year, fans and amateurs jammed the venues to hear their idols Sidney Bechet, Charlie Parker Quintet with Miles Davis, Thelonius Monk, and Mary Lou Williams. The fanatical reaction of their fans at these concerts and club dates brought the jazzmen a whole new perspective on the appreciation of their music and their fans.

Bechet, a New Orleans native, became one of the legends who got little recognition in the U.S. but enjoyed superstar status in France. He was admired for the melodiousness of his compositions and for his mastery of the saxophone and clarinet. But he was especially appreciated for being the only Black musician at the time to take young French musicians under his mentorship and nurturing the first generation of French jazzmen.

Miles Davis, too, stole the French public’s heart. A resident of the Hotel Louisiane rooming house made famous by Bertrand Tavernier’s film ‘Round Midnight’, Davis lent his Bebop genius to French film soundtracks including ‘Ascenceur pour l’Echaufaud’. But the celebrity press also adored him because he and iconic singer Juliet Greco were the Paris ‘it’ couple of the 1950s.