Racist to dislike black music?

A popular music band called "The Postal Service" offers generally fairly mellow music.  At a recent concert, however, their appearance was preceded by an opening act offering a very different type of music from a black performer.  Many concert goers did not like the opening act, feeling that it was not what they had paid to hear.  Because the opening act was by a black, however, such objections were said to be "racism"

“An actual twerk team is opening for The Postal Service.  I don’t know what’s going on.”

“Why in the hell is Big Freedia opening for Postal Service?  What, are you’re gonna bounce/twerk your ass, then guilty cry about it afterward?”

Well, crying to the Postal Service is for teenagers a decade ago.  But these are just a few of many tweets from fans at a handful of recent Postal Service concerts who told the world they were “so confused,” and in many cases pretty displeased, by the opening act, sissy bounce artist Big Freedia. For some reason, audience members reacted as if they had no advance knowledge of who would be playing, and attendees in Vancouver, San Diego, Santa Barbara, Los Angeles and especially Seattle thought perhaps they’d been “pranked” by the unlikely pairing of hypersexual New Orleans dance-rap with the light-synthy lily-white lullabies of the Postal Service.  The presence of Big Freedia and her dancers was said to be “inexplicable,” “awkward” and the result of a decision made by someone “on crack.”

A fan in L.A. wondered if the main act was “trolling hipsters” — the same question posed by Uproxx, in a post headlined in part, “Exceedingly White Postal Service Fans Are Confused.”  Uproxx picked up the story from the Seattle Times, where blogger Andrew Matson reported,  “In the normally neutral space of KeyArena, audience members were irritated, seemed to be uncomfortable with Freedia’s brand of sexual expression and questioned whether the performance was ‘real music.’”

Most people, including most Postal Service fans, are familiar with bounce sounds from crossover hits like Juvenile’s 1999 No. 1 “Back That Azz Up” or Beyoncé’s 2007 “Get Me Bodied.”  But still reaction to Big Freedia’s set spiraled from baffled to outright racist: The show was said to be “ghetto” and “hoodrat,” while multiple pissed attendees echoed Twitter user @vangrafics: “I thought that I came for The Postal Service, and not a twerk show.”

Source


Big Freedia, the sullen black that the concert-goers did NOT want to hear