By the title of this article, some may believe this is just another of my "white bashing" works, but I assure you, things will come clear. Growing up during the do-wop era, I was always fascinated with the sound of my voice, resonating off the walls in the hallways. I'll stop here, because this takes me in another direction, a direction toward the Black artists and their trials and tribulations trying to survive in the music industry.

No matter how far back any of us can remember, it would be almost impossible to not hear a love song from a black singer (although for some love may have been far reaching). But what is it built into the solitude of our spirit that allows our songs to be so gripping and controlling of our lives, sometimes forever?. And why is it, when we hear the same song from someone other than someone black, it has less meaning or renewing power?

What, about us, in-depth, allows us to be much better at making music than most anyone else, including those who often try to emulate us? Would it be our desire for lost emotional nurturing, love, family or fellowship? Is our inherent ability to sooth the soul actually a way to send a message to get a response, preoccupation keeps us from hearing the signal?

From the days of Lena Horne to the bumping sound of disco many years later, few songs or dance tunes of blacks had relationship to life, love, or hope. Questions, yes, but whites not able to understand wanted to know why it had the same affect on them also.

In whites attempt to merge their music with blacks to benefit from its popularity, they chose not to reveal most of their music that originated from the rhythm and blues spirit of blacks artists. So what came next was to devalued the origin of black music and melt the two together to maintain control at all levels.

But speaking from a different direction, it's almost impossible to get anything serious from someone [rocking and rolling]; however, the [rhythm] of life's up's and down's can often leave us with the [blues].

Speaking philosophically, [rock and roll] may only revealed the character of individuals who's life had few restrictions as [metal rockers] showed a group who were unnecessarily confused for no apparent reason. But strange how they felt the world was against them when their shenanigans back fired, because whites disapproved of their music and behavior.

Whites said black music encouraged their children to act out of character and prevented parents from exerting a reasonable amount of discipline to get them back in line. Although, they may not have proof it did, we still see a kind of popular communiqué that did nothing but show how some people can say, do, and act anyway they desire, simply because of privilege.

But white fans, who were more overwhelmed by the artists than their music, probably don't know music usually reveals the circumstances, life style, and desires of the person who's performing. To not down play this, black artist, like Jimmy Hendricks was considered a great guitarist by musicians and an exciting performer by his fans, who were primary white. So which one may have provoked his death so early in life, his musical skills or his stage presents?

If he had avoided being drawn into the lifestyles of people where most cared little about his talents instead of his oblivious stage antics, he may have still been around for us to appreciate. Involving himself in the chaotic behavior and habits of whites didn't help a confused, dissatisfied artist like him to express himself. But knowing how some blacks are quick to include themselves in the lifestyles of anyone, it's easy to see why some are not remembered.

But moving to another area, although not new, we see a kind of rebellious, confused, angry and predictable artists, primarily rappers, of the hip hop community. Predictable because we know where they often came from, where they are now, and where they will often end up, unfortunately.

Would this be an unfair statement, of course not, because few have been schooled to have the vision to want to leave us with any memorable accomplishments from their lives. Secondly, because most of their fans will probably out-grow them anyway, no one often cares. But they still survive somehow, balancing two conflicting, social concerns.

On one side, they were scorned and punished in their old circumstances and now they have to fight the establishment to exercise their Constitutional right to speak their mind. It seem like they got less attention when they were terrorizing neighborhoods and robbing people than saying things that allegedly keeps offending some people.

Blacks who should understand the reasons for their past circumstances should also applaud how they have lifted themselves up, however, they only help to continue the typecasting. Unfortunately, because of this, their general demeanor is often in question to fans who believe they should be feeling, considering most of them have a visual knowledge of what they have.

But for some, it's like they're feeling, "I know, I've got everything I want, but I'm still not happy". The law of chance says there has to be a few we will remember, but unfortunately, most will disappear into obscurity.

So what would be my reason for coming to this conclusion? It's because this work often reflect a culture relative to a particular group of blacks, social, and economic experiences, not a skill that's qualified to be learned or passed on. It's not unusual to know or even believe, older individuals are caught up in this culture, but that's another story.

So moving to another area of entertainment, we see the young black female who's become nothing more than a sexual icon, like her white female counterpart. Because, most of their fans like what they see, over being inquisitive about their talents, they have been programmed to not expect more. To prove my point, I can go down the list of these women and show a percentage of them with no talent or voices, an octave above a whisper, yet we call them artists.

And the only thing that helps their celebrity is their ability to gyrate their bodies and butts to the tune of millions. Funny, this is what some have been complaining about. But few who complain know their careers are monitored from a broader market, owned and operated by white entrepreneurs. And those women who are callous enough to believe they're special, become mock mannequins for expensive clothing designers, who display them at will.

And within this group the dialogue often arises about light skin, dark skin and usually it will decide who will go to the forefront and continue making the white music moguls, millions of dollars. Unfortunately, the women with real talent usually have less of a chance to acquire fame. But the upside of their survival is that both male and female fans admire their sexuality. The down side, is when they get caught up in their own arrogance, they open themselves up to be used at will.

And I don't have to name names to prove it. But some times facing the brink of obscurity, and often dealing with some of the things I've spoken about. They feel it's necessary to openly renew their blackness, remembering distancing themselves from it is what caused their troubles in the first place.

So for those who were in doubt in the beginning, I hope I've made my point. My reason for choosing the title was to reveal the circumstances and hardships blacks in other areas of the society have to deal with. It's to show how some have become the masters at dealing with the worse, even in an industry that's suppose to be for the enjoyment and entertaining for all regardless of race.

But history has shown, whenever blacks are able to develop or create anything exclusively they can call their own, the curiosity and power of whites will often find a way to include themselves and finally take it over. And considering most of these artists have to deal with many things other than giving us their best, we sometimes don't get any of the old feelings when we expect to.

But thankfully, the salvation for most of us who remember what the black entertainers of the past and future ones have or will mean to us, we can still appreciate those who may not still be with us, from the "Old School".

© 2004 Thomas Duffy Afro Staff