Origins of FBA Music: A Master Class 🙂

Hinzugefügt: 2026-05-21

[00:00:00]Heat.

[00:00:26]Hey, heat. Hey, heat.

[00:00:33]Drop.

[00:00:56]All right. All right, let me set up some things here first while I wait for people to get up in here. Let me see.

[00:01:07]Let's do this. Boom. Share.

[00:01:11]Okay, let's do this. Okay.

[00:01:14]Yeah, let's do that. All right. What's up, H Rich and in the building? China Black, what's up, sweetie? Peace to you.

[00:01:23]Wait for some more people to get up in here.

[00:01:26]Yeah, man.

[00:01:29]I don't know if it's it's just the east coast. I didn't check the weather report, but it's hot today. It'll be hot tomorrow, too. But then it's supposed to cool down. So, already enough of the heat. Already.

[00:01:43]Let's see who else up in here.

[00:01:46]Give some people some time to get up in here.

[00:01:52]All right, let's see who else is up in here. Come on. Check in. If you're in the building, check in. Let me know you're here.

[00:02:03]All right. All right. Come on.

[00:02:09]Yeah, man.

[00:02:11]Yeah, man. Last week I had some issues with the computer, but here we go. This is what I wanted to do. What's up, JG?

[00:02:20]This is what I wanted to do last week, but this particular live, but thankfully better late than never. We're going to do it today.

[00:02:30]We're going to do some um some, you know, some straightening as it were.

[00:02:35]What's up, Paul Roberts? We're going to do some straightening today. Get some get some time for some people to get up in here.

[00:02:44]Let's see who else is up in here.

[00:02:51]Isaiah White, what's up, brother? What's up? What's up? What's up?

[00:02:56]Yeah, man. I hope everyone's doing well, man. Cuz I mean, I'm thankful that um get to live another day because guess what, man? A good friend of mine, his his wife passed away yesterday or the day before yesterday. Um some of you may even know the brother, um Andre Wilson.

[00:03:17]Good. good good brother. Um, man, when he told me that cuz I I I recently met well I met his wife one time, right? And just to look at it, you would never think something like that would happen.

[00:03:32]This is just go to tell, you know, show you that you never know. And so, you know, my condolences go out to him and his family. And I wish him all the best.

[00:03:42]And um you know, all I can say is you know I I'll be praying for you for sure.

[00:03:49]And those of you who know him, he's on he's on Facebook, you know, Andre Wilson, you know, let him know that, you know, you're thinking about him. All right? You know, so let me see who else is up in here. JG is still up here. Let me see who else is. Come on, people. Let's do Let me see who else is up in here. Let's see.

[00:04:14]people taking their time coming in the building. What's going on?

[00:04:20]Yeah. What is going on?

[00:04:25]If you're in the building, check in so I can get started. All right.

[00:04:30]All right.

[00:04:32]All right. I'mma go ahead and get started, you know. Now, check this out.

[00:04:36]This is basically part one.

[00:04:40]I'm going to do like in two parts, right? The second part will be Saturday, but it's not going to be as academic as this part one is going to be. Part two is going to involve you guys. You're going to come up. I'm going to open the panel.

[00:04:57]I'm going to have people to come up.

[00:04:58]What's up, Bleak Bay? I'm going to have people come up and we're going to discuss this particular topic and other topics related to the eraser of black culture. So, you want to make sure what's up, Donald McCall. You want to make sure you come and and check out Saturday's live.

[00:05:19]you know, I'm gonna I'm gonna basically do a a a somewhat short presentation and then I'm gonna open up the panel and we're going to discuss things that we discussed that I'm discussing tonight and what we're going to discuss on Saturday. So, this is basically like a two-part thing. Um, and you'll see as I go into it, you'll see that it's all related. It's all about the eraser of black American culture. All right, let me see. Truth. Why Dr. Cloone is trying to tether onto black American.

[00:05:53]That's what this live is basically about. And that's what Saturday's live is going to be about, but they're going to be done somewhat differently. But we're going to talk about why people like the good doc is so uh infactuated with black American culture. It's just it's just amazing how much he tries to tether himself on to it and it's it's rather ridiculous. Now many people say you know why even bring up Dr. Cole? I really don't want to, but for this particular presentation, it's unavoidable because uh he's making circ certain accusations and certain statements that are just clearly false or misrepresenting the actual facts. Let me see. Carlos Santana said, "All music with rhythm comes from Africa fact."

[00:06:47]That's true. For the most part, that is true for the most part. Of course, um, Africa didn't create rhythms, but you know, some of the popular genres are somehow in some ways associated with Africa. So, to that degree, you know, you're right, but not necessarily.

[00:07:09]Not not Africa didn't create every rhythm. They created some and probably some of the most some of the most popular ones. Okay. All right. So you can see on your on your screen this gentleman to the left is Paul Ocelotsz and the person to your right is Allan Jabbor.

[00:07:33]Now Paul Ocelotsz is the gentleman who Dr. Cologne made about five videos about read his article. We're going to we're going to talk about we're going to go over a little bit of that article. And he made uh five videos, but he I think he only has two up. The first video, if you remember, if you remember the um the debate I had with him, he referenced this gentleman, Paul Ocelitz.

[00:08:00]And so this is his go-to guy. You know, if you want to prove that Latin music has something to do with black American music, this is his go-to guy. Now, I want you to keep that in mind. This is Cologne's go-to guy. He made several videos about this guy.

[00:08:17]But when I looked him up and and tried to determine what his ex, you know, his u field of expertise and what what he has studied, he did not study the music of the upper south in America. So when he gives his opinion, it's coming from a particular perspective and it's not contextualized as all of black American culture. And so the gentleman on your right, his name is Alan Jabbor. And I want to give a shout out to um hiphop historian because he's the first person that I'm aware of that featured this guy Allan Jabbor. He does he's a folklory and he studied the the um black fit fiddle players in the upper south and he's the guy who did who established that the 332 rhythm was prevalent in the upper south predating the habanera or the Spanish tinge by a century.

[00:09:23]All right, you hear that? By a century.

[00:09:26]Now, I've done several videos talking about this to a degree, but this is a deep dive. So, when we talk about the a master class, we're going to do a somewhat of a deep dive. And rest assured, when I'm done with this, Dr. Clone is going to have to answer some questions related to Paul Arcelus because I'm going to reveal some things about Paul Arcelis as we get into this thing. All right. Okay. Paul Roberts said, "Paul Arcel uses African and African-American interchange." Certainly does. Certainly does. Uh before I get, let me read a couple of these before I get into it. China Black says, "Damn, shame. This this has gotten this out of hand because haters don't want to give us alpha." It it's getting out of hand.

[00:10:08]And like I said, it's is it's more it's it's much more of a bigger issue when you think about what's going on in America. you know, not only the eraser of black history, but then you have people who are co-conspirators are saying, well, let's go ahead and attack the music as well. And this is what Dr. Cologne is trying to do. And so, so it's incumbent about upon people like me to put out the information so that this false information that's being put out by people like Dr. Cologne will never take root. All right. Okay. So, like I said before, let me stop this. Uh let me go over here.

[00:10:55]Uh let me let me let me stop sharing this for a second and let me do this. I want to go over a couple of definitions because this is important to set this up, you know. Okay.

[00:11:10]Now, let's see.

[00:11:13]Let me go over here. I don't know why this is not coming up. Let me do this right here.

[00:11:19]Okay, it should come up. Let me go back.

[00:11:22]Just give me a second, guys. Just give me a second. Okay, there we go. Let me let me change this over so this so you can see this. So you can read this.

[00:11:30]Okay, I want you guys to really read this. Okay. Now, I want you guys to understand ethusicologist, which is which Paul Arcelus is, it's not a uh uh what you call a science that's not that is like irrefutable. A lot of guesswork goes into ethomusicology.

[00:11:51]And when I get into the article a little bit about what he wrote, you'll see evidence of guesswork. All right? So it's based ethusicologists base their findings a lot on probability amongst other things. So do ethnusic college deal with probability when adequate evidence is unavailable to make factual conclusions? Yes. Ethnusicologists often deal with probability estimations and interpretations when adequate evidence is unavailable to make definitive factual conclusions because ethusicology is a highly interdisciplinary field that relies on particular observation, ethnographic interviewing and sometimes limited archival materials. They must frequently bridge gaps in information to understand music context. So, it's basically if you don't have all the evidence, you're allowed to do some guesswork. All right. So, I wanted you guys to to see that. So, let me go back here. Let me stop this share and go back because definitions are so important. Okay. So, let's go with the article that Dr. Cologne utilized to make his case that black American music is I mean or is influenced by the Latin tinge. Now, let me set this up. Nope, I didn't mean to do that. Let's go back.

[00:13:18]Let's Sorry about that. Let me do this.

[00:13:21]Okay, let me pull up this article here.

[00:13:24]Share.

[00:13:26]Okay, now this is the article that he references. Like I said, he made about five videos about this particular article.

[00:13:36]All right, so this is an article written by Paul Arcellet and as you can see the title, Caribbean and Latin connections in jazz. Okay, now look what it starts off with.

[00:13:52]This is the quote by Jelly Jelly Ro Morton. If one can manage to put these tenses of Spanish in the tombs, they'll never be able to get the right seasoning. Okay, this quote is the quote that set the narrative that Latin music influenced black American music. Now, if you look at the quote, it clearly says if one can manage to put these tensions of Spanish in these tunes, meaning that the tunes were already created. In this case, we're talking about jazz and blues. In other words, the tinge is a style of playing music. It's not the foundation of jazz and the blues.

[00:14:37]Unfortunately, a lot of people will make that assumption, but that's just not the truth at all. So, okay. So, I'm going to spare you guys a lot of this because if you want to hear or read the whole thing or hear Cologne read the whole thing, you could go to his channel and he'll read the whole thing with his chest out like, "Wow, you know, look how much the the the Latinos influence black Americans." You know, come on. Okay, I got to I'm I'm reminding you guys that Paul Ocelots is making guesses a lot of this and he hasn't studied the upper south to know that black American music for the most part originated in in that area, not so much in New Orleans. Okay, I'm not taking anything from New Orleans. New Orleans did play a role, but not a crucial role. And I'm going to explain this in a little bit. Okay. So, all of this is talking about how much um you know, the the Latinos or the Latin American music affected uh black American music and all of that because this is the popular narrative. This this Spanish tinge narrative is the most popular. It's the dominant narrative, you know. So, you're always going to hear you're going to see a lot of articles talk about the Spanish tinge and its influence in black American music, but it's not true. It is not true. It's partially true, but it's not true because it's not complete. Let's go here. So, he talks about it's all talking about influences. So, I'mma spare you. I'm going to go to a po a part of it that talks about basically the guesswork that's involved. Now, here is the quote. Here's a famous quote that I that caught my eye about what Paul says. African-American musicians began incorporating AfroCaribbean and Latin elements so thoroughly that while the influences are clear, the results sometime obscure the origins of their specific rhythm at play. For example, tener saxophone Sonni Rollins, whose parents hail from the US Virgin Islands, gained fame with his composition St. Thomas, which was based on a calypso tinge melody. drummer Art Blakeley instigated a fiery collaborative Cuban US drumming um recording session such as the origin rhythm album. The static harmony of Afro music. Now here listen listen to this. Look at this. The static harmonies of Afroatin music probably you see that that's that's part of the guesswork at the music college engaged in. Let me read that part again. The static harmonic harmonies of Afrolatin music probably influenced Miles Davis signature kind of blues of 1959 which features an improvisation based on modes or types of musical scales rather than on core progressions. pianist um compos um composed a hard silver signature style was likely influenced by Latin music and perhaps by his own Afro Portuguese Kate Verdian ancestry. So writing his own article he's acknowledging that he's making assumptions about influence.

[00:17:53]Now it's it's okay because part of that being an ethnusicologist you can do that. You can do that. That's it's okay to do that. Let me see. Uh, okay. Here's another here's another part. In 196 is this the one about James James Brown drummer. I'm trying to find the one he said about James Brown drummer. Okay.

[00:18:17]In 1960, John Cold Train's drummer Elvin Jones bass. I'm trying to find the one about James Brown's drummer. Let me go here. Let me find Okay, let me go here. I I'mma go here first. Let's do this. Uh I'm go down a little bit. Even the vocal doo [ __ ] style incorporated by Latin tinges.

[00:18:38]The black songwriter Manuel Williams hit Little Darling recorded by the Gladiolas in 1957. For example, features a clave rhythm groundbreaking in 1960s remaining influential at um as it was sampled in hip-hop music by James Brown. Now, James Brown again, here's what here's what we need to understand about this. Let me see where am I? This we need to understand about that clav rhythm. Bo Diddley is the one who introduced the clav rhythm to most of us by the bold Ditley beat which is a a variation of the Afrouban rhythm. So, let me finish this. Um, let me see. Influential by hip hop. The music of James Brown, such as the funky drummer, is also informed by Caribbean tensions. Perhaps, again, hear that word again. Perhaps due to formative New Orleans influences on Brown's drummer.

[00:19:35]Again, I did a video where I featured Clyde Seerfield. Had nothing to do with Latin music, but as at the music college, you're allowed to make these leaps of faith. So, a lot of what he has in this article are based on assumptions, guesswork, and probability. Okay, let me I should have had this up. Let me let me stop this. I want to pull up something I forgot to do before. Let me pull this up. Let me stop this.

[00:20:06]Go back here.

[00:20:10]I'm going to try to pull this part up because this is this is important. Just bear with me for a moment. I forgot to pull this up and I I really want to showcase this.

[00:20:23]Let me see where we at. Um, give me one second while I locate it.

[00:20:41]Okay, let me go back. Okay, I I got it.

[00:20:43]Let me go back.

[00:20:45]All right, let me share this because I'm going to finish this part up real quick.

[00:20:52]Okay, local music.

[00:20:58]All right. Okay. Now, you remember he mentioned in the article about um Maurice Williams and the Gladiotas with the um the clav rhythm in the song Little Darling. Cologne made a big stink about that, you know, and so let me show you. Let me and I pulled up this article. This is important. At the time this song was recorded, Maurice Williams was 16, maybe going on to 17. All right. Cologne made the accusation that Maurice Williams or the Gladiolas at the time were influenced by Latin music.

[00:21:39]That is not true.

[00:21:41]And this article proves that. Okay, it's going to tell us where the influence came from. Okay, so then it's right down here. The Royal Charms love performing and were popular locally but working the area around Lancaster, Lancaster, South Carolina.

[00:22:00]That's where Maurice Williams and his friends are from. Now, in those days, there was no Latin music. We have to understand it. No, no Latin music on the radio. There's no way that these brothers, young kids, were influenced by Latin music. But I'm going to show you where it comes from, where the clab rhythm comes from. Let me go back. Let me see. Um, okay. They found their p their prospects limited. The group's first real break took place in 1956 when a Nashville disc jockey hooked them up with Ernie Young. For your for the information, Ernie Young is a is white.

[00:22:39]Okay, now that's important. Ernie Young, the head of Excel Records, Williams, then only 16, bluffed his way in an audition over the phone and then had to raise money from friends and local merchants in Lancaster to make the trip to Nashville in December of 1956.

[00:23:00]Little Darling impressed Young, although he altered it somewhat. This is Ernie Young altering the song, giving the song a calypso beat that that it didn't originally have. So, the original song written by Maurice Williams did not have the clab rhythm. That was something that was added by by Ernie Young because he loved calypso music. He was also insistent in in on changing the group's name. It seemed as though every R&B group, the word doowop hadn't been invented yet, had either royal or charms in its name and bird name groups were too common as well. Young happened to like flowers and selected the name the gladiolas. So that is the the history.

[00:23:50]Now you got to remember during the 50s calypso was a huge thing.

[00:23:55]You remember like people like Harry Bellfonte Deo and all that. That's where the influence came from. We have to remember the clabby rhythm just wasn't in Cuba. The anywhere where there were African people in the Western Hemisphere, you're going to see a variation of the Afrouban clave rhythm.

[00:24:16]You find it amongst black Americans.

[00:24:19]Bold Diddley is a the the the best example of that and you find it in calypso music as well in any place where there are people of African descent.

[00:24:31]Okay. So that is the the the history. So there was some misrepresentation that Paul Arcelitz dealt with and talk about the origins of where the clav rhythm came from. It wasn't Afrouban according to Ernie Young. It was calypso music.

[00:24:48]All right. And it wasn't Ern um Maurice Williams idea. Okay. So Maurice Williams. So when you lie and say Morris Williams was influenced by Afro Cuban music, that is a lie.

[00:25:02]That is a lie. We going to make we going to do some straightening today. That's for sure. Let's go back. Let me go back here.

[00:25:11]Okay. Now, let's move on to another article that I found very interesting. I'm not going to keep you guys too long, but this is some good stuff, man. This is some good information that I want to arm you guys with because you're going to hear a lot of false information. I'm going to arm you with some good information and some truthful information as well. Okay? So, let's go. Let's go here. Now, all these sources I'm going to put in the description so you can check my sources and find out if I'm taking anything out of context. I have nothing to hide.

[00:25:48]Nothing at all to hide. Okay. All right.

[00:25:52]So, let me see. Let's find Let me see where that is. Okay. The title of this is The Spanish Tinge, a hidden treasure of blues, jazz, and dance history. Now, this article is basically about the Spanish tenants. All right?

[00:26:13]So, it's a kind of lengthy article. Like I told you, I promise you, I'm not going to bore you guys with everything in here, you know. Uh, but for the most part, he kind of uh, you know, goes along with the narrative that, you know, uh, this thing is, you know, the Spanish tinge is this and that, blah, blah, blah blah blah. Okay. So, we're going to go down. I'm going go to a part which I found very interesting and and enlightening. Now check this out.

[00:26:43]They even have corresponding videos that show examples of what the article is referencing. Okay. Now here's the interesting right here. Jelly Ro Morton is an article and of course it's going to talk about you know the Spanish t. So let's let's read that and then because this is important to set up what I want to talk about. Okay. The Spanish tinge is a habanero rhythm. It is believed he has learned it from Spanish guitar teacher he in his teens in his teens. It seems plausible that since there was also a strong Latin presence in New Orleans and the rhythms had already spread around as we can hear later in singers like Leadia Mendoza and others.

[00:27:22]It's direct influence on black and creo seemed to have stuck to the piano since guitarists from New Orleans don't share this musical figure nor can it be found in Harry Auster's various recordings made in Angola prisons years later.

[00:27:36]Morton used the seasoning. Um, Morton's use of seasoning relates to most likely to food. But since it shares the meaning of adding value, it makes it all slightly disturbing. I'm not sure what he meant by that slightly disturbing.

[00:27:50]Uh, let's continue. Let's move this down. Let me see where is the thing.

[00:27:55]Okay, let's Okay.

[00:27:59]Okay. What is so fascinating in this interview segment is that you can clearly hear the drift from a Spanish song to the blues. Right there they're separating the blues is a a different form of music and this habanera feel is a different thing. It's an application to music that already was established.

[00:28:20]It's not the foundation of blues. It's not the foundation of jazz. It's a way of playing jazz and blues. All this simply by changing the complimentary syncupation of the left hand and the right hand which give the music a particular appealing kick to make you want to move. It is also interesting to notice in the interview that he starts from the Spanish tent slowly modifies it into another closely related rhythm known as the Charleston rhythm which one we hear in the recording of New Orleans Blues. Guess what? The Charleston rhythm is also a 332 rhythm.

[00:28:53]Why? because black Americans had the 332 as well, but it's modified because depending on regions around the world and the western hemisphere, they evolve slightly differently, but it was there.

[00:29:10]The black fiddle players of the 18th and 19th century is evidence of that. We're going to get into that a little bit later. Okay. Uh Morton points out for him the essential part of jazz composition. Okay. Okay. As Morton points out is for him see as Morton points out it's for him it's his preference right for him also an essential part of jazz composition. He used it for instance in the craze creepy feelings and others. The Spanish probably traveled with some early piano players as far as New York. Willie and Lion Smith and James P. Johnson.

[00:29:47]Remember Jack the Bear playing a salty song, Dream again with the same rhythm.

[00:29:52]Again, it's it's telling you that the habanero is a rhythm. It's not the foundation of blues or jazz. Okay, let's move on. And they give you an example.

[00:30:02]Like I said, it it show it gives you uh examples that you can look at on a video. Okay. It's difficult. Now, listen to this. It's difficult to know why the Spanish 10 doesn't appear in more records from the 20s.

[00:30:16]it. Let me read that again. It is difficult to know why the Spanish tinge doesn't appear on more records from the 20s. It might be that for recording companies, it's Latin flavor made it less suitable for race market made it less suitable for the race record market.

[00:30:40]What is the race record market? That's us, black Americans.

[00:30:46]Black Americans had a different feel for the music. Most of us wasn't rocking with with the the Latin tinge. It is not foundational to black mu black and m black music. So, let me say that again.

[00:31:00]Let me read that part again. It is difficult to know why Spanish tinge doesn't appear on more records in the 20s. It might be for the for the record companies. It Latin flavor made it less suitable for the race record market. In any case, we know it spread at least a little at the time as the recording of T Tana Man by Adah Brown testifies. Not surprisingly, the various musicians on the song are also New Orleans old times like Albert Nicholas Barney Beard, Johnny St. Cree and George Mitchell and Lewis Russell. The Spanish t almost disappeared in new when New Orleans pianist moved up the Mississippi to reach Chicago.

[00:31:44]Luckily though, some pianists like Doug Suggs, little David Alexander using it in Wendy's in the Windy City. It appears on many Jimmy Yansy recordings um from at the window or I mean at the window to his interpretation of Leroy Carr's classic How Long Blues. Okay. And then it gives you an example. He plays a song. From there, the multiple exchanges and cutting contests between musicians might have worked to spread and modified its structure. So what that means to me is that when it moved out of New Orleans, the 332 rhythm that the black Americans were mostly doing overtook the Latin tinge. So it modified the structure. is that fluence can still be heard in some random recordings. Now, if this was so fundamental and foundational to black American music, why would it be on random recordings?

[00:32:43]Huh? Its influence can still be heard on some random recordings like the piano line of Jazz Gilliam's Going to Take My Nap, some champion Jack Depri from Louisiana, or Sunnyland Slims songs with multiple other recordings. It also and closely related the patterns to the Memphis Slim's left hand and he gave us an understanding that such a form was also practical since it was possible to play it while holding a cigarette.

[00:33:12]All right. So, let me see what else is here. Uh, all right. So, it basically, like I said, I'm not going to bore I'm not going to bore you with all this, but here's the deal.

[00:33:27]If you ever notice when you listen to New Orleans music versus music outside of New Orleans, there's a difference.

[00:33:32]Right. Right. New Orleans is the one of the only places where the music sounds slightly different. Maybe because that Spanish tinge element resonates more there than it does outside New Orleans.

[00:33:46]All right? Because it's clearly a difference. So clearly like like this article says, let me go back to the top of the article so you guys can make a note of what the article the title of the article is. The Spanish tinge um the hidden treasure of blues jazz dance history. Okay, I'm going to stop sharing because like I said, I'm going to go through a couple of things and and um let me see, let me stop this.

[00:34:15]All right.

[00:34:17]Now, let me see what is there. Let me see what this is here. Let me I'm going to share something right quick. I'm going to look for something real quick before I share it. Let me look at this real quick before I share it.

[00:34:36]Okay. No, I'm not going to share that one. All right. Let's go back.

[00:34:43]Okay. Now, I want you guys to understand something that the reason why the Spanish tinge has more uh is more dominant, right?

[00:34:57]It's more dominant because it was basically articulated by a person like Jelly Ro Morton. It was written down. It was demonstrated. When you talk about how certain things are embraced, normally written history is more embraced than oral history. Many people didn't know about the the black fiddle players in the upper south because it was basically not written down. No one cared. It wasn't until recent years that people started investigating and finding out that these rhythms existed. Okay. So just because a narrative is popular and just just because a narrative is dominant doesn't make it right.

[00:35:42]All right? Because in Paul Arcelus's case, he did not know anything about the fiddle players in the south because he would not have made that error. Now here's another thing we need to understand. People talk about, oh, you know, the the the the the Cubans and the the the the Haitians after the the French Revol the Haitian Revolution, they came into Louisiana, doubled the uh the population of Louisiana, and that's where the influence came from. Blah blah blah blah blah blah.

[00:36:19]Right? But no one talks about the domestic slave trade. After 1810, 1815, up until the Civil War, more than 100,000 enslaved people from the upper south were transported to New Orleans and the surrounding areas of Louisiana.

[00:36:42]So the dominant culture bringing that essence of the 332 rhythm into New Orleans came from the upper south.

[00:36:52]Think about it this way too. Why is it that the Latin culture was so prominent and so influential? Why did the enslaved after the pe after the enslaved people were free, they picked up European instruments. They weren't picking up congos and bongos and things of that nature.

[00:37:11]All right? Because they likely, more than likely, came from the upper south or were the descendants of the of the enslaved people from the upper south.

[00:37:21]That's probably what happened here. All right? So, we need to understand that just because some some narrative is popular or dominant doesn't make it true. Because I'm proving that right now. I'm giving you evidence to demonstrate why it's not true. And I'm going to show you evidence in terms of I'm g show you some other evidence. Let me go to this other article.

[00:37:45]This is is so important. I hope you guys are sticking with me or you know getting this information here because this is um real good information. Let me see conversation. Okay, now this is an interesting one right here. This is an interesting one. Now, after I read this, guys, I wonder what Cologne is going to do about this because again, this is his man, Paul Arcelitz. I found an article and I I guarantee he knows about this article, but he he's not going to tell you. He's not going to tell you. Here's the title of the article.

[00:38:27]In conversation with Paul Arcelins. All right.

[00:38:31]uh Molly Sherin. She's interviewing him.

[00:38:35]All right. On a on a on a a bunch of topics. Okay. On a bunch of topics. All right. Again, somewhat lengthy. I'm not going to bore you with it. I'll put it in the description. If you think I'm taking out of context, make a video about it. Tell truth taking stuff out of context. I'm going to the part that's relevant to this conversation. Okay.

[00:38:56]Now, let me see if I could locate it real quick.

[00:38:59]Uh, just give me a second. You will be able to continue to play. Let me see.

[00:39:09]Okay, let's start here.

[00:39:12]Okay. Molly, I forget her that quick. I forgot her last name. Molly. Okay. She says to she she says to Paul Arcelus, you write about the continued power of black music as sort of a sort of musical music linga frana of our time. I see this in only rap and hiphop but also in the impact in the evolution of ragga is having. Where does this jazz consciousness fit in today in the African-American community and its mainstream American society? All right.

[00:39:48]So then he answers say PA that's part I wish that I had addressed that more in my book. It's hard for me to really have a perspective on it. I think jazz has made a lot of inroads into having access to the infrastructure of the so-called high culture in the US with the development of jazz at Lincoln Center and the development of jazz education.

[00:40:10]You have a high school and college with a jazz program. When I was in high school, it didn't exist. So, it's very entrenched. On the other hand, it is someone in some ways removed from his vernacular and its AfricanAmerican source. Okay? So he's acknowledging jazz is African-American. Now this is the beginning. But it's alive and well and that's for sure. Most things in life have their positive and negative aspects. It's great that jazz made these inroads in the schools and so on, but it's become a very codified and and homogeneous. On the other hand, it's great that all of these young people are playing. I can tell you that as as a middle-aged musician, some of these young kids coming up are just outstanding and very creative. So, there's a lot of great things going on in the music. Okay. Then she asked, "Can you apply a lot of points that you raised in jazz consciousness to the music recent develop developments in African-American music?" Okay. Then he answers, "Yeah, I think I think so. For example, hiphop of course is a AfricanAmerican music that has become a part of the mainstream American culture.

[00:41:27]Let me say that again.

[00:41:29]Paul Archelitz when asked the question said, "Yeah, I think so." For example, hiphop of course is a African-American music that has become a part of the mainstream American culture. Do you think Cologne's going to say that's not what he really meant?

[00:41:46]Right. That's what he probably will say.

[00:41:48]Okay. Ne needless to say, nevertheless, that's what he says. It gets even better. It gets even better, people. It gets even better. It's really interesting to me to um It's Let me say that again. It's really interesting to me, though, uh because jazz history has been warning of white appropriation.

[00:42:06]Paul Whiteitman was called the king of jazz despite the fact that he wasn't really a jazz innovator. And Benny Goodman, although he was in some ways an innovator and a great band leader, was wrongly called the king of swing because he wasn't the foremost exponent of the style of music. And that's been a recurring theme in the history of jazz.

[00:42:27]Also, rock and roll was created by black and and then taken over by whites. And what's interesting is that after the the advent of affirmative action, things were a little different. Eminem can gain great fame but he would never and his fans would never claim that hip-hop is white music. Also his producers are black. Many Goodman's producers were not black. So there is something different that is very hopeful hopeful trend.

[00:42:55]Okay. Then I discovered that with my students I taught a class on jazz and hiphop. It was the first time it let me say it was the first class on hiphop at Brown University. The students requested it. I really I'm really am not an expert on hip-hop.

[00:43:12]Um, so I said I can teach a class on it, but I'll teach a seminar where we compare jazz to hip-hop. I learned a lot from it. I learned that young people today are more comfortable with the idea that people can have multiple identities and that young white musicians and fans know that hiphop is a AfricanAmerican cultural manifestation not just music hip hop is a AfricanAmerican cultural manif manifestation but they also feel like they can participate and most of the young African-Americans also welcome the participation of whites and Latinos and people from all over the world.

[00:43:59]Y'all hear what I'm saying? This what this what your boy Paul Sus is saying.

[00:44:04]He's saying they also feel like they can participate.

[00:44:09]And most of the young African-Americans also welcome. We welcome you Latinos and white people for participating, but they also feel like they can participate. And most of the young African-Americans welcomed the participation of whites and Latinos and people from all over the world. So hip hop has now also configured a kind of utopian space similar to that created by jazz. Peace, love, unity, having fun.

[00:44:38]So your boy Paul Arcelus, your expert, the guy you did five videos on, said hip hop is a black American creation.

[00:44:52]How you going to deal with that?

[00:44:55]How you going to deal with that?

[00:44:59]Oh my goodness gracious mighty.

[00:45:03]Let's go here. So, let me see what the chat is saying before I go on. Okay.

[00:45:08]Clone's probably watching making a video, right? Yeah, he is. But guess what? He's not going to be able to debunk anything I said.

[00:45:17]Unlike him, I bring sources. He's not going to be able to debunk anything that I said. I You know what? Matter of fact, I welcome him to try. I welcome him to try.

[00:45:31]No doubt about it. You know, cuz I bring facts, I bring receipts, I bring documentation.

[00:45:40]Everything that I said, I can back it up.

[00:45:44]No question about it. Let me see. Uh, okay. You know, here's another thing I forgot to put up.

[00:45:54]Let me pull another video. I had so much information I forgot to put it up. Give me one second. Let me pull this one up.

[00:46:05]Y'all give me a little bit of minute here.

[00:46:09]Let me find it. Let me see.

[00:46:17]Okay, here we go.

[00:46:27]All right. Okay, let me go back here.

[00:46:33]All right. Now, let me I'm gonna make my point. I'm going to prove when I talked about Allan Jabbor. Allan Jabbor is the folklorist who talked about the fiddle tradition and the upper south during the 17th, 18th, and 19th century. Think about that.

[00:46:53]Think about that. All right. So, here we go. Let me do this.

[00:47:04]Let me uh Where we at? Where is it at here?

[00:47:13]No, that's not it. Let me go back.

[00:47:19]Let me go back. I'm sorry. Give me a second.

[00:47:23]Give me a second.

[00:47:25]Okay. Where is it? Okay. This is it. I'm sorry. Here we go. Let's do it again.

[00:47:30]Let's do it again. Let me share it again.

[00:47:43]Okay. Okay. Here we go. Let me share it.

[00:47:46]Let me put make it bigger. Okay. Now, I want you to listen to what Allan Jabbor says. There's only less than a minute.

[00:47:54]Um, you guys already seen this already.

[00:47:56]A lot of you, if you're following me, you already seen this, but I want you to pay attention to what he says, and I'm going to just set it up. Basically, he's going to talk about that what the black fiddle players were doing is the foundation of American music. Now, the Spanish tinge narrative is that the Spanish tinges, but again, I have to remind you, and I got to keep making this point because people, some people are slow, right? I got to keep making this point. The Spanish tension is a way to play a style of of of you know of music. The way to play a particular form of music is not the foundation to any black American music genre.

[00:48:37]I'm going to say this one more time as well. the Spanish ten or the habanero rhythm that comes from New Orleans and that Juart embraced from his Mexican music teacher is his preference.

[00:48:54]It's his way that he wants to approach this music. Now think about it. Had it not been for um Joel Ro Morton making a recording for the Library of Congress with Alan Lomax, would we even have heard of this man's tinge?

[00:49:11]He is the main source for that.

[00:49:14]All right, so let me play this now. Just listen to what Alan Jabbor says.

[00:49:24]>> 368.

[00:49:26]So you could do There's three, three, three separate and then three slur and then two separate.

[00:49:49]See what he's doing there? He's he's explaining the rhythmic style of the fiddle players. This is the 332 that he is demonstrating that is the foundation of black American music. All right. So, so it doesn't sound like it doesn't sound syncopated because it's play is played on a a violin or a fiddle, but you have to understand when the drum band happened, black Americans had to put that those rhythms onto different instruments.

[00:50:22]All right? So those rhythms didn't disappear. They evolved differently, but they never disappeared.

[00:50:30]And so the one of the lies is that when the enslaved people that came from Africa, they lost everything. That's a lie.

[00:50:38]They did not.

[00:50:40]A lot of things were preserved. Just because they took away the drums does not mean that they we lost everything.

[00:50:46]But that's the most popular narrative.

[00:50:48]But that is a false narrative.

[00:50:54]It's subtle. It sort of goes by fast.

[00:50:57]But what it does in effect is create this pattern >> and see it sounds like drumming but it's being played on a fiddle.

[00:51:10]>> Uh grouping things into threes and twos uh creates not just syncopation generically but a certain particular kind of syncopation. And it's the kind of syncopation that we now associate with American music generally. Uh most people when they hear it, they think, well, it must be African-American and maybe it came from jazz or maybe from blues or maybe real oldtime stuff like rag time. Actually, it did come from African-Americans. It's clearly an African-American contribution to the style, but it came even earlier by a century. It came in the early 19th century and it came in fiddling in the upper south and it worked its way from fiddling out into other kinds of folk music in the south and ultimately into popular music beginning in waves with the minstal stage and going right on through the various waves of the 20th century.

[00:52:09]So this syncupation that's now associated with American music on a worldwide basis really I believe began with fiddling shared by black and white together in the upper south uh as they through art uh forged a unified culture that connected them together. Uh it's an amazing thing that they did that.

[00:52:33]>> Okay, so you heard him. He's basically saying that a musical tradition that came centuries before the the introduction of the habanera or the Spanish tinge predates anything you know the the 332 rhythm and upper side predates anything that came from Latin America. So again, to say to argue or to make a case that somehow black Americans are influenced by Latin music or not influenced or Latin music is foundational to black American music is a lie. It's a falsehood.

[00:53:17]It's not true. And I prove that. I challenge anybody to prove that I'm wrong.

[00:53:25]Make a video. Show me that I'm wrong.

[00:53:29]because I know I'm not.

[00:53:32]Black Americans have their own music rhythmic tradition. We did not rely on Latino culture.

[00:53:39]Stop the lie.

[00:53:42]We not doing that here. We're not doing that. We're not doing that lying stuff here.

[00:53:47]All right, let me see.

[00:53:50]Let me see who in the comments.

[00:53:52]Cologne is like, "Damn, he found the article."

[00:53:56]Yeah. What's up? What's up, Uptown Blade Brown? What's up? What's up, man? I ain't seen you in a while. No, check this out, man. Uptown Blade Brown. He knows that article exists. He was He knows it exists, you know, because that's his boy, Paulus. That's his dude.

[00:54:16]So, I'm sure he read everything Paul Arcelus put out. But he's not going to tell you that Paul Arcelus said that that black Americans that hip hop comes from black Americans. He's not going to tell you that.

[00:54:29]But guess what? He going to say that's not what he really meant. That's not what he really What's up, Adolf Montgomery? What's up?

[00:54:39]Uh yeah. Yeah, I I I hit a home run. You damn right I did. Let me see. Let me see where a couple other comments. Let's see. Uh, now I'm I'm just curious. Is he going to use uh Paul Oscelus again? You know, okay, you're welcome, Paul. I mean, Adolf Washington, you're welcome. Uh, let's see. I'm just reading through a couple of comments. We're not gonna be here long. Like now I'm going remind you guys on Saturday it's somewhat going to be like a part two but it's not going to be detailed with the kind of this information. We're going to have a little fun and I'm going to open up the panel and we're going to talk about the the eraser of black American culture and music. All right.

[00:55:27]I'm going to give a a a short demonstration and then we're going to uh you know have some fun and talk this thing out.

[00:55:40]So, Dion uh Moon Shabbaz says, "I'm let me put this so you guys can see this.

[00:55:47]This is this is this is the guy who hates my guts." It's all right. He says, "True savior. Oh, you're obsessed with Dr. Clone because without him, you would have nothing to do, brother. Please, please. I have I speak about all kind of topics, bro. I don't need Dr. clone. If you look at my videos, more I I have more videos dealing with other topics other than Dr. Clone. So, stop being a hater.

[00:56:16]You're a freaking hater, man. You know, let me see who else is here, man.

[00:56:23]Cologne is a liar. And so, I feel obligated to call him out. All right.

[00:56:29]Now, he can make a video about me calling me a liar if he want to, but he won't be able to prove it because he have to debunk my information.

[00:56:39]Let me see what this one said. I'm going to read a couple of comments here. Good video. Thank you. I seen this video and read debates about fiddling on X FBA always summed with Yeah. Yeah. And like I said, shout out to Hip Hop Restoring because if it wasn't for him, I wouldn't have known about this history. And those of you who don't know Hip Hop, check out his channel. The guy has a lot of good information, man. You know, he's a good researcher. He finds things that, you know, I basically touch the, you know, I I can't even think about touching, you know. So, shout out to him, you know.

[00:57:17]Um, let me see. Now, I'm going to say this again. I said this earlier when I open. Some of you may may know Andre Wilson. his wife passed the other day.

[00:57:27]Good friend of mine. I just basically I just I kind of met him about three years ago and I if I feel like I I've known him all my life. So when he told me his wife passed, it kind of hit me. And so um say, you know, give a shout out shout out to him and give him a special prayer. He he left the information on his uh Facebook. Um his name is Andre Wilson. If you want to leave some condolences, go to his Facebook page and do that. I'm sure he would appreciate that, you know. Let me do this. Let me do this. I I'm going to go check out and see what Let me see what this is. Just hold on. I got some other information up here. Let me see what this is.

[00:58:08]Uh let me see what is different between Spanish.

[00:58:15]Okay, let me just read this. Let me go back. Let me go back and I'm going to share this so you guys can look at this.

[00:58:22]Oh, shoot. Like I said, there's always some things I always forget. Let me see what this is. Okay, let me let me do that. Let me do this. Let me do this.

[00:58:30]Hold up, guys. Let me do this.

[00:58:38]Okay, let me see where else we at.

[00:58:46]Okay, here we go.

[00:58:49]All right, let me see where we at. Let me see.

[00:58:54]Okay. Now, remember I said before that because of the the the transatlantic slave trade, the Africans went through different parts of the Americas and there's going to be similarities no matter what region of the world you are in the Western Hemisphere.

[00:59:19]Okay? And so just like the Boditley rhythm is reminiscent of the Afrouban rhythm and calypso clave rhythms. All right, you're going to find other similarities as well. One of those other similarities, you guys heard of the ring shout, right? There's a practice that's very similar to the ring shout called juror, Louisiana creo. All right. So, I want you to listen to this and and if you can if you can zoom I can't zoom this in, but it says right here. It says the C it the AC capella call and response juror comes from southwest Louisiana. Jurie is related to the ring shout found in black communities around the south. So it says related to it doesn't mean that jury was influenced by ring shout. It just means that it's similar because we share the same history in terms of the transatlantic slave trade. So this points this makes my point more so that you can have a 332 rhythm in the upper south and a 332 rhythm in Cuba amongst the Afroubans but they develop differently. You understand? Okay. So let me play this little bit this this clip.

[01:00:54]Rock my God.

[01:01:09]>> To my God.

[01:01:12]>> Oh Lord Lord.

[01:01:14]>> To in the noon time.

[01:01:17]>> Oh Lord.

[01:01:19]>> To in the noon time. Oh Lord, Lord.

[01:01:25]>> Marchel my Lord Lord Lord Lord Lord this morning.

[01:01:47]Now that's that's in the um that's in Louisiana. Okay.

[01:01:54]>> Start.

[01:01:54]>> Now this is ring America dance.

[01:02:01]As the old song says, give me the kneebone >> from the >> So you could see that there are similarities and that's what you're going to see because there's a shared history, but things develop slightly different, but you can still detect the similarities. So again, when people say that black Americans got certain rhythms from Afroubans, that is not true.

[01:02:32]It's simply not true.

[01:02:35]All right, so I need you guys to understand this this history. Um, let me read a few more comments. Um, I think that's all I'm really going to talk about today because I want to save the rest for Saturday.

[01:02:51]All right, let me see. Let me read a few more comments. Uh Patrick Young, let me read Let me read Patrick Young.

[01:02:59]Okay. Uh these Latinos act like the whites.

[01:03:04]They're pissed on your feet and tell you it's raining. Yeah. Okay. All right. Let me see who else this guy got here.

[01:03:17]And listen, I know this guy I know this guy wants to. Let me Let me hit that.

[01:03:22]Get out of there. Hold up.

[01:03:25]Let me see. Reply. No, I don't want to reply.

[01:03:33]Okay, so this guy says, "Dr. Cologne gives you purpose."

[01:03:42]That's wishful thinking.

[01:03:45]I grew my channel largely without Dr. clone. So, you know, I know that's wishful thinking.

[01:04:01]Now, I don't know if this is really him.

[01:04:05]Is this really you, Paul Arcellet?

[01:04:08]Thanks for checking out my book. You're welcome. Paul Arcellet, if you want to, man, you can hit me up on my email. we could discuss your, you know, the black fiddle players and the history behind that because, you know, while I respect your work, it's not it's not it's not 100%. And I think you know that. All right. If this is him, I'm not sure, but you know, we could definitely do something. Paul Ocelus is here. I'm really Let me see.

[01:04:42]Paul Ocelus is really here. I'm really flattered that you've been reading my book. No, I didn't read your book.

[01:04:50]I didn't read your book. I just just researched you. Can you tell me something? Can you tell me if this is you, Paul? Can you tell me, do you know anything about the black fiddle tradition in the 332 rhythm in the upper south? Answer that question.

[01:05:14]And would that have changed your opinion had you known that?

[01:05:20]Now, this is going out to Paul Arcel that that's really him. Uh, and like I've always said from the top, that is the Spanish ch narrative. That's Jelly Rose Morton's narrative.

[01:05:42]Yeah, Paul Ocelus, if you you know, I didn't want to do a, you know, a panel discussion, but if you want to come up for a minute, you know, I really wanted to make this a a short night. If you want to come up for a minute and have a discussion, let me know and I'll drop a link and you could come up and you can give me your peace.

[01:06:06]All right? if this is really you because I have no way of knowing.

[01:06:14]Now, I'm looking for your answer as to would your opinion have changed had you studied the black fiddle players in the upper south because you were very insistent on this Latin influence on black American music.

[01:06:42]Now I I don't see nothing. Let me see.

[01:06:44]Let me see.

[01:06:47]I'm still looking for Paul's answer here. I don't have an answer.

[01:07:18]All right. Listen, I I I I doubt that was him. I doubt that that was him.

[01:07:23]That's, you know. All right. Listen, guys. Let me see. Let me Let me Let me give some shout out. Let me see.

[01:07:32]Um I'm I'm looking for him. Forgive me, guys. I'm trying to wait. I'm trying to see if that's him.

[01:07:38]Paul Arcellet, if you want to have a a short discussion, maybe we could set up something later, but if you want to, you know, you don't want to chime in right now, you're more than welcome to do so. Thank you, Milton Levant.

[01:07:55]You're you're more than welcome to do so. I just saw Let me see. Let me see.

[01:07:59]Let me post this. I'mma post a few comments here so I can read them. Just saw the rain shout online from the Mcotach country in Georgia. It's tradition. They still keep it going. Um, I like hearing the way they keep the beat. Many use their feet and keep their beat off the coast. Beat off the coast.

[01:08:16]Okay. China Black. Let me see. Let me see what she says here. Um, True Server on Saturday at 12:00 noon is the hip hop summit on scoreboard keep. Okay. Yeah, I'll check it out.

[01:08:29]I'll check it out. Let me see.

[01:08:36]Okay. Oh, uh, Patrick Young, make sure you chime in on, um, Saturday. We're going to have a a panel discussion. I'm not going to do it tonight because I had a a somewhat of a long presentation today. Um, but it's this is basically like part one. We're going to do part two on the eraser of black American history and culture and music. Okay. And so, like I said, I'm just going to do a short presentation and then we we going to get it in. All right. Are there any questions regarding the information that I put out? Anybody? Do you have any questions?

[01:09:14]Did there something that I said that you weren't clear that you want me that I wasn't clear that you want me to clarify?

[01:09:21]I'm more than happy to do it.

[01:09:38]Let me see. All right. I don't see any I don't know why this is like this. Let me see.

[01:09:55]Let me see. Okay.

[01:09:58]All right. I'm going to go ahead and end this live right now. Okay. So, again, if this is your first time to the channel, um, thanks for stopping by and, um, feel free, don't it doesn't cost you anything to subscribe, you know, because this is a this is a channel with some good information to give make sure you guys uh, learn what's going on. Now, this was a real master.

[01:10:21]All right, I gotta put that up. Now, that was a real masterclass fact. Thank you, Malik. Thank you. Thank you so much. This is what a master class supposed to be about. Laying down factual information.

[01:10:34]Thank you, JG. Laying down factual information that can't be debunked.

[01:10:41]So, if Clone does not debunk this video, guess what that means? He can't do it.

[01:10:48]So, but I want him to try though. I really do. I I really want him to try to do it. You know what it means. Let me see. Let's see what this says.

[01:11:00]I need more of our musicians in this discussion. We need more new musicians in this discussion. Okay. What is meant as you move further from the coast of South Carolina and Georgia, the people use their Okay, I already see that.

[01:11:13]Okay. Uh stomping rocking them on the floor backwards and forwards. Okay.

[01:11:19]Yeah, I I got you. I'm I know what you meant. Okay. Uh let me see. What is this one?

[01:11:27]Solid video. Thank you. Thank you, Paul Roberts. Thank you. Okay. All right.

[01:11:32]Again, if this is your first time, hit that like button, share this information, subscribe to this channel, you know, hype up the video, okay? Don't forget Saturday. What's up, um Cheryl Dazzle? Don't forget Saturday 7:30.

[01:11:48]Y'all leave it. Put a notification.

[01:11:50]Y'all make sure y'all come up hard in numbers. We're going to have a good time talking about this history. All right?

[01:11:56]And the and the eraser of black American music culture. All right? So until the next time, I'll see you guys