All of the reggae covers of Police/Sting songs I’ve heard are great. Freshest name on the list:
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Team Moji flew from Harlem to Copenhagen to party when I played there, and we were the only black people on the boat i think and a Danish woman came up to my friend Erin and said: you have a great smile. thank you for being black!
I was like wow and Moji said to me: “i LIKE being thanked for being black when i’m in europe. yup, it is a singular experience, a real treat, and something you don’t really get uptown (where everyone is black and already sick of the black people they know).”
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anyhow, let me get b(l)ack to making fun of a [correction!] Anonymous Poster on W&W’s blog, which was the original intention of this post. He expressed this sentiment, doesnt matter which way the waters flow so I mirrored it darkly:
“…Refined European polka and waltz started being exported to the Texas area in the late 19th century, where it was welcomed by uneducated Mexicans, always in search of the newest first-world dance beat to mimic and ape, last season it was the waltz, now it’s polka! These Mexicans call it Norteño.
“It’s a shame seeing these Mexicans take the glorious German accordian and refashion it to their own rural, underdeveloped needs. Completely unaware of the polka classics, the wonderful songwriting of the Volks, ignorant of Wagner and our traditions, the Mexicans have appropriated our instruments and pulled them down into the realm of the popular…
“I freely acknowledge that my general visceral reaction against working-class usages of cosmopolitan elements grows out of the confirmed suspicion that these things are not usually carried out in the sense of submission and homage, but rather, as you say above, cross-class climbing and an indigenous craving for a mediated refinement / urbanity / sublimity [insert desired quality of our population here]. . .