Conclusion on White Female #1
(Rock and Roll)
Kofi Fosu Forson
How does a young African man cavort with white Americans and is soon to remove his identity from African Americans while maintaining his roots as an African?
The immigrant is first in line to absorb the new language. It is only true in the minds of those who familiarize themselves with the philosophy of language as in art, literature and music. Such was my plight when I reinvented myself in rock and roll.
Rock and roll as language was delivered within the spirit of the black male. It was however marketed to a commercial and white generation. Understanding rock and roll in this format has influenced me as an African living in the United States. Whereby Willie Dixon helped inspire rock and roll, I listened to Bruce Springsteen as a young man.
White female in rock and roll isn’t as visible as it is conscionable. Performers like Joan Jett, Blondie and Pat Benatar were marketed to disillusioned young men and women. I was drawn to their particular brand of sexuality which wasn’t common in the black girls I knew. With the advent of MTV, I was able to see them in performance.
What white females in rock and roll were to me that black girls I grew up with weren’t was insatiable. As a child living in Ghana, I wasn’t alerted to sexuality. What was childish and prankish took on a whole new meaning as a young man living in New York.
Cable television furthered the cause with its brand of programming after midnight. I was aware of pornography in adult magazines but the subject was handled in a whole other visual context complete with heterosexual and homo-erotic images.
This element of fornicating brought not desire, rather the understanding that the body was disposable and without intellect sex meant nothing.