A musical outrage

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Wow, Tony Norman does it again, getting all deep and heavy on us over more of pop culture's trivial tripe ("Maybe Songwriters' Stupidity Is Accidental," April 12 column). "Accidental Racist" seems to be a poor attempt to unify country and rap music together into an edgier version of the droll 1982 hit "Ebony and Ivory." I predict it will have the shelf life of a banana ... or until Lil Wayne has another run-in with the law, which ever comes first.

Wearing a Confederate flag T-shirt, as the song mentions, may be offensive to some, but Mr. Norman credits it with far more power to offend than it possesses. There are many people roaming the streets of Pittsburgh who would be clueless to identify the flag's meaning, or for that matter, the meaning of the stars and stripes.

Rather than be upset by such innocuous lyrics Mr. Norman's real outrage against offensive music should be directed toward the vile, hate-filled, misogynistic and profane rap that vibrates from passing cars and through the earbuds of young black men, glorifying greed and drugs, fueling the anger and discontent of the inner city and exacerbating the violence. I don't quite remember this type of gunplay associated with the British (music) Invasion of the '60s or the sweet soul sound of that same era.

The harsh reality is that the near-genocide of young black males now occurring isn't a result of America's darkest and most regrettable era of slavery 150 years ago. This horrific epidemic of homicide is a black-on-black phenomenon, and not a single Dixie-waving Southern plantation owner to blame.

Where is the outrage over this national tragedy?

STEVEN CRICHLEY
South Side


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