Woman says Black Americans living in NYC are Transplants and Caribbeans RUN the CITY

Added: 2026-05-27

[00:00:00]bought a transplant. Leave New York City.

[00:00:05]It's no reason why y'all are complaining about Caribbean music being played when Jamaican, Haitians, and Trinity run majority of this city. And >> oh man, >> Dominicans, I'm not going to forget the Dominicans and the Puerto Ricans, too.

[00:00:23]get out of here because there's no reason why I should be seeing on Twitter people complaining about Caribbean music at a party in New York. I don't know if y'all remember, but this city is literally the Caribbean.

[00:00:41]Oh, Lord family. All right, let's get some little straightening in. It's funny how these folks run everywhere but their homeland. Huh?

[00:00:50]How the hell you going to run an American city, but you couldn't run your homeland? You ran from it. That's what she might have meant. That's what she might have meant. She might have meant them Caribbean folks. They ran from their homeland. They're runners. That's might I think that's what she was talking about. I know she ain't talking about how they run an American city.

[00:01:08]What do Caribbean folks run in New York?

[00:01:10]Okay, let's be clear. A lot of these folks, they come over and they think, shout out to brother Tariq Nash because he said this once once upon a time. He said that a lot of these black immigrants, what happens is they get into close proximity with black Americans, they start developing a significant population around black Americans and they start to soak up our cultural influence and then try to pass it off as their own. Okay? These folks ain't running nothing in New York City.

[00:01:39]Okay? They couldn't even run their homeland. They just simply ran to New York City. Let's be clear, family. the cultural fingerprint of New York, what makes New York cool, whether it was the hip-hop that foundational black Americans created through our art forms, taking that uh the break beats, taking uh the graffiti, taking the uh the MC in, taking the break dancing that foundational black Americans had within our culture and taking it up to places like the Bronx and creating this global art form. the cool factor of the Dapper Dans who came up there with the fashion.

[00:02:17]Understand this, okay? The brothers like Bumpy Johnson who was standing up to the mob and other places like that.

[00:02:25]Everything that's cool, everything that's significant about New York City as far as it pertains to black people comes from foundational black Americans.

[00:02:34]All right? You're just in proximity. And a lot of these people create uh they equate proximity with cultural relevance. You can have a million damn Jamaicans in New York. Don't mean Jamaican is the dominant uh influence in New York. No, you're just around. You're just around. And all the so-called cool Jamaicans like a cool herk. He was cool because he was seen as Americanized.

[00:03:01]That's according to him. When Cool Herk brothers like that came up to New York and they started DJing, they said, "Hey man, I couldn't play Jamaican music. I couldn't play Caribbean music." Okay, I had to start playing American. I had to start playing James Brown. I had to start playing the Eley brothers and other people. I had to start being Americanized in order to be seen as cool. Okay? It's always been like that.

[00:03:24]And it's still like that because that's what she's complaining about. She's complaining that, "Oh, why y'all complain about Caribbean music? Nobody wants to hear that [ __ ] okay?

[00:03:33]Especially not at black American events, okay? Because we're gonna see a lot of that coming up in the next few weeks. A lot of my black New York family and put a Statue of Liberty in the comment section. If you're a foundational black American and you're from New York, uh, a lot of them have been complaining about on Junth, a lot of these Junth events, they try to merge it and turn it into some type of pan-African Caribbean day. Okay, these folks are always tethering on to what we do and then want to turn around and tell us we have no culture and how they're the ones really running stuff. Okay, we got to start checking this nonsense and salute to y'all because this next video is her she's kind of trying to backtrack acting like black Americans are attacking her because they've been on her bumper.

[00:04:20]LET'S CONTINUE.

[00:04:22]>> GET out of here, please. Yo, black Americans, can you chill in my comments?

[00:04:28]Like I never dissed y'all.

[00:04:30]>> Salute to the family for getting on her.

[00:04:31]>> I never disrespected y'all. I said, "How do you want to hear plies in a city where you hearing bad bunny on the streets in the Bronx?" Like, >> family, let's be clear, cuz a lot of these Tethers, they do this. They sit up here and disrespect us. They sit up here and talk about how they're running the city. They sit up here and talk about not her in particular, but how we have no culture. These are common talking points from the Caribbeans in New York and other places and then like to play the victim when we get on their ass.

[00:05:08]Okay? When you sit up here and start talking about you're running something and how it's Caribbean culture, we we own New York pretty much and [ __ ] like that. That's disrespectful to the foundational black Americans who helped to pave the way for your ungrateful ass to get there. Okay? Let's be clear. So, don't try to play victim now. Don't try to play victim now. Also, I told you a lot of things they try to do. She's trying to play the whole bad faith comparison. They love to take what they think is a mediocre or middle-of the road black artist and compare it to somebody who is Caribbean who is way up here. So, she's talking about Pies and Bad Bunny. Why didn't you say Beyonce and Bad Bunny? Okay. Why didn't you say Kendrick Lamar and Bad Bunny? Why are you talking about plies? You see what I mean? Why Why are you talking about Plaza? And if foundational black Americans want to hear Pies over Bad Bunny is because they can more relate to the cultural influence that Pla is talking about. Plies is a foundational black American. Okay, let's be clear. I bet you more foundational black Americans know more PL songs than Bad Bunny. Nobody really knows Bad Bunny like that. Yes, he's an international success, but in foundational black American households, I've never heard nobody say, "Play that. Put on that Bad Bunny." I've never heard nobody say that family. And even Bad Bunny family, the funny thing about it, even people like Bad Bunny are people who cosplay our culture family. For the people who don't know, Bad Bunny is a Puerto Rican rapper. This is a picture of Bad Bunny. Bad Bunny is a Puerto Rican rapper. And this is from the Grammy Awards website. And this just shows you our cultural influence. He's from Puerto Rico. It says, "The Puerto Rican rapper born Bonito Antonio Martinez is taking on the world by storm with his punctuating deep voice, playful style, and ultra uh ultra catchy brand of Latin Trap.

[00:07:13]a Spanish language take on Atlanta born trap music.

[00:07:20]I'mma just let that sink in. Okay, so the person she's talking about, oh y'all, uh uh nobody wants to hear plies over Bad Bunny, [ __ ] Nobody wants to hear nobody who's cosplaying our music.

[00:07:31]We have the real thing, Queen.

[00:07:34]Okay, Bad Bunny is doing a knockoff version of Atlanta Trap. He's doing a Spanish version of Atlanta Trap. Nobody wants to hear that [ __ ] Nobody wants to hear. We want to hear the real thing. Now, maybe over in Latin America because he can put a Latin spin on it. They want to hear it. But New York, last time I checked, was in America. Okay. This is the home of the real thing. Not saying New York City, but America in general is home to the real trap music. Okay? Even the people they try to compare us to are doing a knockoff version of what we created.

[00:08:13]So stop.