This describes a situation where parodies in general are more popular than the things they parody. But the author doesn’t say that the cakewalk (a parody of European dance) was altogether more popular than European dance itself. Rather, he says that by parodying European dance, which appealed to European Americans, the cakewalk likewise appealed to European Americans.

This describes a situation in which one group (older listeners) enjoy something, and a different group (young listeners) enjoy parodies of that thing. But the author’s account in P2 is about how a single group (European Americans) enjoyed something (European dance) and also enjoyed a parody of that thing (the cakewalk, which parodied European dance).

This has the same structure as the author’s account of how European Americans came to enjoy the cakewalk. Something (the cakewalk) became admired among a certain group (European Americans) in part because of elements that were introduced in order to parody that thing (elements of European dance).

This is analogous to European Americans liking the cakewalk, losing interest, then gaining interest again when the cakewalk works in elements of some more popular dance. But the author’s account in P2 doesn’t say that the cakewalk “won back” European Americans by incorporating elements of some “more popular” dance. Rather, European Americans were simply attracted to the cakewalk in the first place because of how the cakewalk parodied European dance.

This is analogous to the cakewalk appropriating elements of European dance, followed by increased general interest in European dance. But the author’s account in P2 is about how after the cakewalk appropriated elements of European dance, interest in the cakewalk increased among one specific group: European Americans.