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Dayvenkirq View Drop Down
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Points: 10970 		Direct Link To This Post Posted: January 09 2013 at 13:30
Originally posted by timothy leary timothy leary wrote:

I just wondered why it was Anglo American as opposed to Anglo in general. Americans are not the only 'Anglos" playing prog music.
I think he meant both Anglo and American.

Edited by Dayvenkirq - January 09 2013 at 13:32
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Points: 5319 		Direct Link To This Post Posted: January 09 2013 at 13:38
People should say what they mean. It came as no surprise to me when a racist chimed right in on the thread. 
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Points: 1754 		Direct Link To This Post Posted: January 09 2013 at 13:47
Originally posted by timothy leary timothy leary wrote:

I just wondered why it was Anglo American as opposed to Anglo in general. Americans are not the only 'Anglos" playing prog music.

Yes, there's a lot of misunderstanding here about why I named the topic "Anglo-American prog." Sorry for the confusion, perhaps I should've worded it better. The reason I named it thusly: I wanted to concentrate on prog coming from the USA and England. I *know* that prog is international, and there are many great prog bands all over Europe, South America, and Asia. What I found curious, however, was the lack of black involvement in prog music **IN THE USA and (to a lesser extent) the UK**, given how ubiquitous blacks were in popular music during prog's heyday in the 60s and 70s in every other conceivable genre, including funk, r&b, soul, jazz, blues, pop, disco, and even rock (e.g. Hendrix, Sly & Family Stone, Love, Thin Lizzy, etc.).


Edited by jude111 - January 09 2013 at 13:50
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Points: 17 		Direct Link To This Post Posted: January 09 2013 at 13:53
Originally posted by timothy leary timothy leary wrote:

People should say what they mean. It came as no surprise to me when a racist chimed right in on the thread. 
 
Would that be me by any chance?Tongue Can you name one thing I've said that was "racist"?
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Points: 10970 		Direct Link To This Post Posted: January 09 2013 at 13:57
Originally posted by timothy leary timothy leary wrote:

People should say what they mean. It came as no surprise to me when a racist chimed right in on the thread.
Yeah ... because the world is so easy that we can change it ... . People will keep making mistakes and learn from them, and there's nothing we can do about it. We'll just have to get used to it.
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Points: 5319 		Direct Link To This Post Posted: January 09 2013 at 14:01
Hey, it is your topic and you can name it whatever you want. I certainly do not side with Eldridge's views but I am old enough to know the more you respond to him the more opportunity he has to deliver his warped message. Sometimes we write words and they are misunderstood. For instance, when i wrote the blues grew up alongside country music I started getting feedback about how people did not like country music. I was not referring to this modern country western drivel which we have today. I should have been more specific, of course they might not like old country music either. Both the blues and old country music came out of poverty. Old country music was the music of sharecroppers and Appalachian hillbillies, not what it has become today in country western music. Eldridge has never learned that "union differentiates".
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Points: 17 		Direct Link To This Post Posted: January 09 2013 at 14:08
Originally posted by timothy leary timothy leary wrote:

Hey, it is your topic and you can name it whatever you want. I certainly do not side with Eldridge's views but I am old enough to know the more you respond to him the more opportunity he has to deliver his warped message. Sometimes we write words and they are misunderstood. For instance, when i wrote the blues grew up alongside country music I started getting feedback about how people did not like country music. I was not referring to this modern country western drivel which we have today. I should have been more specific, of course they might not like old country music either. Both the blues and old country music came out of poverty. Old country music was the music of sharecroppers and Appalachian hillbillies, not what it has become today in country western music. Eldridge has never learned that "union differentiates".
 
What have I said that is "warped"? Can someone refute one thing that I've said. All people have done is call me names, "racist", "supremacist". Calling someone names is a graceless way of admitting you have lost the argument.
 
Why do you use racial epithets like "hillbillies" in describing the Appalachian people?
 
 
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Points: 17 		Direct Link To This Post Posted: January 09 2013 at 14:12
For anyone who is interested in what I have to say, I invite you here, www.amren.com
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Points: 17 		Direct Link To This Post Posted: January 09 2013 at 14:21
@Timothy Leary, I just checked the racial demographics for Lilliwaup, WA. It is 85.10% white, 0.21% black, 7.30% American Indian, 0.62% Asian, and 6.37% Hispanic. This proves the hypocrisy of white liberals. It diverstiy is so wonderful, why do you live in a lily-white community? You experience virtually no diversity at all. Why not buy a house in the black community? Detroit has really cheap real estate nowadays.
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Points: 7024 		Direct Link To This Post Posted: January 09 2013 at 15:34
Originally posted by eldridge eldridge wrote:

Originally posted by timothy leary timothy leary wrote:

Hey, it is your topic and you can name it whatever you want. I certainly do not side with Eldridge's views but I am old enough to know the more you respond to him the more opportunity he has to deliver his warped message. Sometimes we write words and they are misunderstood. For instance, when i wrote the blues grew up alongside country music I started getting feedback about how people did not like country music. I was not referring to this modern country western drivel which we have today. I should have been more specific, of course they might not like old country music either. Both the blues and old country music came out of poverty. Old country music was the music of sharecroppers and Appalachian hillbillies, not what it has become today in country western music. Eldridge has never learned that "union differentiates".
 
What have I said that is "warped"? Can someone refute one thing that I've said. All people have done is call me names, "racist", "supremacist". Calling someone names is a graceless way of admitting you have lost the argument.
 
I haven't "lost" the argument. It's just not one I want to engage in, actually.
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Points: 17 		Direct Link To This Post Posted: January 09 2013 at 15:50
Originally posted by Hercules Hercules wrote:

Originally posted by eldridge eldridge wrote:

Originally posted by timothy leary timothy leary wrote:

Hey, it is your topic and you can name it whatever you want. I certainly do not side with Eldridge's views but I am old enough to know the more you respond to him the more opportunity he has to deliver his warped message. Sometimes we write words and they are misunderstood. For instance, when i wrote the blues grew up alongside country music I started getting feedback about how people did not like country music. I was not referring to this modern country western drivel which we have today. I should have been more specific, of course they might not like old country music either. Both the blues and old country music came out of poverty. Old country music was the music of sharecroppers and Appalachian hillbillies, not what it has become today in country western music. Eldridge has never learned that "union differentiates".
 
What have I said that is "warped"? Can someone refute one thing that I've said. All people have done is call me names, "racist", "supremacist". Calling someone names is a graceless way of admitting you have lost the argument.
 
I haven't "lost" the argument. It's just not one I want to engage in, actually.

Then why have you responded at all? I ask you, or anyone else, to refute anything that I've said.
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Points: 32995 		Direct Link To This Post Posted: January 09 2013 at 17:36
^I never heard this Israel thing. Do  you have any info?
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Points: 37575 		Direct Link To This Post Posted: January 09 2013 at 18:05
Originally posted by eldridge eldridge wrote:

For anyone who is interested in what I have to say, I invite you here, www.amren.com
Dead this is to racism what intelligent design is to creationism.
What?
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Points: 9869 		Direct Link To This Post Posted: January 09 2013 at 18:47
Originally posted by Neelus Neelus wrote:

Originally posted by rogerthat rogerthat wrote:

That would be a bit like how men often relate better to women singing more aggressively to violent music because that is closer to traditional 'male music' notions.   Whether you like it or not, that already suggests the effect that stereotypes have had in shaping your tastes. 


Jon Anderson? LOLBig smile

That is a good example.  It is women who are expected to sound 'naughty' or 'sexy' or whatever, not Jon.  Jon has full licence to sing the way he wants and sees fit, women aren't granted the right to be independent artists, they must conform to male notions of music.  
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Points: 9869 		Direct Link To This Post Posted: January 09 2013 at 18:53
Originally posted by moshkito moshkito wrote:


And one other person had an even bigger impact on this ... and he was far more progressive in his area than most ... but we would never consider him there, for those two albums, at least!
 
Goes like this in my early days of seeing black artists:
 
Chuck Berry -- (DJ's Madison) 95% black audience
Little Richard -- (DJ's Madison) 95% black audience
Earth Wind and Fire -- Santa Monica Civic -- 90% black audience
Blue Note All Stars -- in LA -- 100% black audience
Oscar Peterson -- in LA -- 100% black audience
Charles Musselwhite -- in SF -- 90% black audience
Mississipi Charles Bevel -- in Santa Barbara -- 90% black audience
Stevie Wonder -- Santa Monica Civic -- 95% black audience (like 72 or 73)
James Brown -- Santa Barbara -- 95% black audience
Michael Jackson (Bad Tour) - LA - 50% black audience
 
When it came to the "mixing" and getting people together, there is one person mentioned here that is never given that credit or appreciated for some of his work. Stevie Wonder, for some reason, was not as strong in the audience department as Michael was ... but it shows you ... that even without advertising ... some of these folks went to see their artists ... but it also showed a separation that is ... still visible.
 
It bothers me that when I went to see YES, the audience was 99% white. And when I saw Pink Floyd in 1972, it was 95% white. And when I saw it last year ... it was 90% white ... which is an improvement from 30 years ago ... I guess.
 
All in all, the day that ALL MUSIC BECOMES IMPORTANT, AND NOT THE RACE OR COLOR, is the day that we will ALL OF US, be color blind.
 
Sadly, when you look at the world and even some religious groups wanting to go their own separatist way ... I am not feeling too positive that the integration will happen ... and that we will hear some more mixes and far out music.
 
Which is really sad ... because a label like ECM has so many "blacks" ... but no one in America enjoys listening to them ... it's much easier to listen to the much more traditional "Blue Note" stuff and not anything else. And "Blue Note" has not, and probably never will, release the stuff that is not "traditional" that they think will confuse the fans about the artistry involved. A lot of it was experimental, free form and played far longer than 5 minutes -- which we are not hearing ... thus, we will not have a better, and more comprehensive, sense of history of music in America.
 
Again, America is about 4 or 5 countries, and some of them do not have the respect of others and vice versa ... and that means that it is really hard to have one area appreciate another, unless the media can get a top ten out of it ... so everyone thinks it's good!

Thanks Pedro....your comments are at least still within the topic in this strange thread.   I agree that Michael Jackson was more successful in appealing to white, black audiences...actually, the whole world.   The closest to a Beatles-like phenomenon since their time.  Interestingly, that marks the point where black audiences began to push back and it may have ultimately spurred the popularity of hip-hop among them.   Sadly, we go only so far and no further in this regard, it seems.  
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Points: 17493 		Direct Link To This Post Posted: January 09 2013 at 19:16
I still don't understand the point of this thread, if there's any. Not that there has to be one anyway. PA after all
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Points: 7265 		Direct Link To This Post Posted: January 09 2013 at 19:32
My friend Mychael Pollard would take great exception to this thread!  (check out this video, I can't get https videos to open properly on this forum)



Edited by cstack3 - January 09 2013 at 19:33
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timothy leary View Drop Down
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Points: 5319 		Direct Link To This Post Posted: January 09 2013 at 19:44
Originally posted by cstack3 cstack3 wrote:

My friend Mychael Pollard would take great exception to this thread!  (check out this video, I can't get https videos to open properly on this forum)



your link would not open so I put this up.
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Points: 1754 		Direct Link To This Post Posted: January 09 2013 at 19:51
Originally posted by cstack3 cstack3 wrote:

My friend Mychael Pollard would take great exception to this thread!  (check out this video, I can't get https videos to open properly on this forum)

This sounds like jazz fusion to me...

 
1st post - "Why is Anglo-American prog so white? Other than jazz fusion, prog tended/tends to be lily-white. I think this is a shame, since I really love the sounds of funk and soul, and can only imagine how great black prog could've been. And maybe we should think about adding some black bands to PA? I mean, P-Funk could be pretty proggy and/or spacey at times (e.g. MAGGOT BRAIN)."


Edited by jude111 - January 09 2013 at 19:52
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Points: 4460 		Direct Link To This Post Posted: January 09 2013 at 20:40
I might have missed it but five pages of thread and not one mention of David Sancious???
 
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