IllmaticDelta

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These nikkas give two fukks about African Americans outside of their own locale.

You ever notice with these discussions, it starts out as "it started in the bronx".. But they don't really care for NY nikkas (as you can see in any other threads on here) and it becomes "well lowkey Hip Hop started in the south..YEAH!!!!!".. nikkas is in here posting old ass videos of gospel songs & saying that Hip Hop is Disco and Gospel mixed together, then saying that James Brown was a hip hop DJ all in the same breath:mjlol:. This shyt is a circus. Anytime you see nikkas start tagging in they mans on some WWF shyt, you know what type of timing its on.


The Hip Hop argument on here has always been some The South Will Rise again reaching bullshyt by nikkas from the middle of Alabama some damn where who want gratification & know NOTHING about hip hop. Can't take it serious. You start talking about griots and percussive melodies that go back to them Slave ships (That the grandmasters will tell u themselves) and nikkas get deadly silent. Had this argument with nikkas way too many times on here.


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IllmaticDelta

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& Africa suprecedes all of that since that’s our ancestral lands. You don’t get any of this without Africa. Same thing goes for tango, bachata, calypso, merengue and damn near every musical innovation of the last 400 years.

aframs/new world blacks aren't simply continental africans in america but people with african roots who experienced a creolization process to birth a NEW CULTURE.

As for your second part, it personally offends me as a New York AA DoS when a bunch of oddball nikkas from the middle of nowhere try to reach and dip and flip to paint a portrait. Hip Hop as a brand and a culture is authentically New York..nowhere else. Not Jamaica, not Georgia, not Nigeria,

Afram NYC culture came from aframs from the south and those are the same traditions they reached from. None of those traditions are from jamaica, post-slavery new africa but many are from georgia, mississippi, carolinas etc...:sas2:
 
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wiki the name:wow:

Skokiaan's significance is that it shows how Africa influenced American jazz in particular and popular music in general. Musarurwa's 1947 and 1954 recordings illustrate how unique the indigenous forms of jazz were that emerged in Africa in response to global music trends. While African jazz was influenced from abroad, it also contributed to global trends.[10]

"Skokiaan" has been adapted to various musical stylings, from jazz to mento/reggae (Sugar Belly and the Canefields), and Rock and Roll. The tune has been arranged for strings (South Africa's Soweto String Quartet) and steel drums (Trinidad and Tobago's Southern All Stars[11]). A merengue version was recorded in the Dominican Republic by Antonio Morel y su Orquesta in the 1950s, with saxophone alto arrangement by Felix del Rosario.[12] A number of reggae versions of the song also exist, and marimba covers are particularly popular.

"Skokiaan" has been recorded many times, initially as part of a wave of world music that swept across the globe in the 1950s, spurred on in Africa by Hugh Tracey and in the United States by Alan Lomax, to name two. "Skokiaan" gained popularity outside Africa at the same time as the indigenous South African export, "Mbube" ("Wimoweh"). The sheet music was eventually released in 17 European and African languages.[13]

:blessed:we here!
Nah.
 

IllmaticDelta

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wiki the name:wow:

Skokiaan's significance is that it shows how Africa influenced American jazz in particular and popular music in general. Musarurwa's 1947 and 1954 recordings illustrate how unique the indigenous forms of jazz were that emerged in Africa in response to global music trends. While African jazz was influenced from abroad, it also contributed to global trends.[10]

"Skokiaan" has been adapted to various musical stylings, from jazz to mento/reggae (Sugar Belly and the Canefields), and Rock and Roll. The tune has been arranged for strings (South Africa's Soweto String Quartet) and steel drums (Trinidad and Tobago's Southern All Stars[11]). A merengue version was recorded in the Dominican Republic by Antonio Morel y su Orquesta in the 1950s, with saxophone alto arrangement by Felix del Rosario.[12] A number of reggae versions of the song also exist, and marimba covers are particularly popular.

"Skokiaan" has been recorded many times, initially as part of a wave of world music that swept across the globe in the 1950s, spurred on in Africa by Hugh Tracey and in the United States by Alan Lomax, to name two. "Skokiaan" gained popularity outside Africa at the same time as the indigenous South African export, "Mbube" ("Wimoweh"). The sheet music was eventually released in 17 European and African languages.[13]

:blessed:we here!

not me breh:yeshrug:..unfortunately thats what history says:yeshrug:another thread from a few years back i think we had this same convo...u as an african american disagree that african music influenced ur fav music breh?


jazz was born in 1890's usa...you're talking about some shyt from 45+ years later that had no influence on the form other than a few americans recorded it in the 1950's:mjlol:
 

IllmaticDelta

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For what it’s worth a lot of the “it’s all from Africa” talk reminds me of what White folks do when they realize can’t insert themselves into the narrative. That “music doesn’t have color” shyt.
:sas2:

Yeah all of it points back to Africa no doubt, but do people dismiss other diasporan cultures like that? Cause I haven’t seen it. If anything that African aspect is used to validate those cultures. Just some shyt I noticed.
:sas2:

It’s even weirder when half the time we’re getting told we ain’t got much African left in us.
:russ:
:hula:


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skokiaan

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jazz was born in 1890's usa...you're talking about some shyt from 45+ years later that had no influence on the form other than a few americans recorded it in the 1950's:mjlol:
i hear you breh..did you do your googles and find out when that song was first recorded..jazz might have been in the 1890s or wateva but the point is that particular recording influenced what you are listening today..music changes everyday b...and if u read correctly u will find..well nvm....african americans brought that rhythm from africa where they are from:russ:..hate it or love it..africa always wins coz thats the motherland (even cacs tryin claim the DNA:mjlol:..poor things)
 

IllmaticDelta

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No, it wasn't.
So many reaches but our material speaks for itself.
The caribbean gets stuck on "repeat riddim"...mainly influenced by US..
We don't make whole albums out of the same beat because we're too innovative...and ALL of those places you named stay behind in modern music. If the cultural exchange was in parity, you would see new subgenres popping up in those places, and you DON'T.
fukking "latin" infusion.
No, that's congo square "pattin juba"...Respect the architects.
We make it, they take it, rebrand it, and call it something else. You should know, you're a black brit. Y'all 100% jack everything we do, put a cute little posh jamaican accent on it, and give it to cacs.


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IllmaticDelta

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i hear you breh..did you do your googles and find out when that song was first recorded..jazz might have been in the 1890s or wateva but the point is that particular recording influenced what you are listening today..music changes everyday b...and if u read correctly u will find..well nvm....african americans brought that rhythm from africa where they are from:russ:..hate it or love it..africa always wins coz thats the motherland (even cacs tryin claim the DNA:mjlol:..poor things)

Dude, song had no influence on american jazz other than a few covers of it. You know what jazz sounded like harmonically, rhythmically and melodically in the 1940's/50's/60's in the USA?
 
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skokiaan

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Dude song had no influence on jazz other than a few covers of it. You know what jazz sounded like harmonically, rhythmically and melodically in the 1940's/50's/60's in the USA?
jesus son of allah:snoop:

do you guys do research? do you guys even read?....are you so blinded by the american flag you..nvm:hubie:
 

mykey

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No, it wasn't.
So many reaches but our material speaks for itself.
The caribbean gets stuck on "repeat riddim"...mainly influenced by US..
We don't make whole albums out of the same beat because we're too innovative...and ALL of those places you named stay behind in modern music. If the cultural exchange was in parity, you would see new subgenres popping up in those places, and you DON'T.
fukking "latin" infusion.
No, that's congo square "pattin juba"...Respect the architects.
We make it, they take it, rebrand it, and call it something else. You should know, you're a black brit. Y'all 100% jack everything we do, put a cute little posh jamaican accent on it, and give it to cacs.
Congo Square in New Orleans..birthplace of Jazz....That should tell you something bruh.
 
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Congo Square in New Orleans..birthplace of Jazz....That should tell you something bruh.
yeah my family is from there and I used to be out there actually getting the vibes running through callio with my cousins. It's cool you read a book abpur it but peep game: US immigration didn't allow for much cultural exchange until 1965.
Jamaicans heard our djs on the radio, got a hold of some records, and took it from there. Reggae was born after they decided to add "mento" to it...
 
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