Edited by Azizi Powell
This pancocojams post presents information about American Jazz musician Horace Silver and showcases his composition "Song For My Father".
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Horace Silver and his accompanying musicians for their musical legacy and thanks to all those who are quoted in this post. Thanks also to the publisher of this video on YouTube.
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And, to quote a comment by Anna Fisher, 2017 from the discussion thread of this showcased video:
"Happy Father's Day, fathers and also to the mothers who take on both roles. Blessings always! One love <3"
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INFORMATION ABOUT HORACE SILVER
From https://en.wikipedia.org/wiki/Horace_Silver
"Horace Ward Martin Tavares Silver (September 2, 1928 – June 18, 2014) was an American jazz pianist, composer, and arranger, particularly in the hard bop style that he helped pioneer in the 1950s.
After playing tenor saxophone and piano at school in Connecticut, Silver got his break on piano when his trio was recruited by Stan Getz in 1950. Silver soon moved to New York City, where he developed a reputation as a composer and for his bluesy playing. Frequent sideman recordings in the mid-1950s helped further, but it was his work with the Jazz Messengers, co-led by Art Blakey, that brought both his writing and playing most attention. Their Horace Silver and the Jazz Messengers album contained Silver's first hit, "The Preacher". After leaving Blakey in 1956, Silver formed his own quintet, with what became the standard small group line-up of tenor saxophone, trumpet, piano, bass, and drums. Their public performances and frequent recordings for Blue Note Records increased Silver's popularity, even through changes of personnel. His most successful album was Song for My Father, made with two iterations of the quintet in 1963 and 1964.
Several changes occurred in the early 1970s: Silver disbanded his group to spend more time with his wife and to concentrate on composing; he included lyrics in his recordings; and his interest in spiritualism developed. The last two of these were often combined, resulting in commercially unsuccessful releases such as The United States of Mind series. Silver left Blue Note after 28 years, founded his own record label, and scaled back his touring in the 1980s, relying in part on royalties from his compositions for income. In 1993, he returned to major record labels, releasing five albums before gradually withdrawing from public view because of health problems.
As a player, Silver transitioned from bebop to hard bop by stressing melody rather than complex harmony, and combined clean and often humorous right-hand lines with darker notes and chords in a near-perpetual left-hand rumble. His compositions similarly emphasized catchy melodies, but often also contained dissonant harmonies. Many of his varied repertoire of songs, including "Doodlin'", "Peace", and "Sister Sadie", became jazz standards that are still widely played. His considerable legacy encompasses his influence on other pianists and composers, and the development of young jazz talents who appeared in his bands over the course of four decades.
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SHOWCASE VIDEO: Horace Silver Quintet - Song For My Father
ukvibeorg, Published on Apr 9, 2012
Recorded live in Copenhagen, Denmark, April 1968. Song for My Father was recorded in October 1964 and released on the Blue Note label. The album was inspired by a trip that Silver had made to Brazil. The cover artwork features a photograph of Silver's father, John Tavares Silva, to whom the title song was dedicated. "My mother was of Irish and Negro descent, my father of Portuguese origin", Silver recalls in the liner notes, "He was born on the island of Maio, one of the Cape Verde Islands." The album line-up differs from the Copenhagen musicians here.
-snip-
Selected comments from this video's discussion thread (with numbers added for referencing purposes only)
1. ukvibeorg, 2012
"One of the best pieces of modal jazz. Thanks for the words."
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2. Burney Warren, 2013
"incredible song and performance... one of my favorites. thanks for sharing with us."
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3. king7allah, 2013
"OMG Horace is the MAN!!!!!"
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4. Chuck M, 2013
"So beautiful, wonderful and soulful."
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5. bela varga, 2013
"My absolute favorite jazz standard. Amazing!"
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6. michael morphites, 2013
"who is the guy on sax here please? i much prefer junior cook and henderson to this chap. is it maupin? still a blistering performance from all involved. thanks."
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REPLY
7. ukvibeorg, 2013
"Yes indeed it was Bennie Maupin on tenor sax. Bill Hardman trumpet, Johnny Williams bass and Billy Cobham drums."
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8. John Sund, 2013
"Great stuff. The end part of Maupin's solo becomes especially imaginative - but these guys just give 100% - beautiful playing!"
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9. Brendan Blosser-McGinnis, 2013
"That drummer is feelin it"
**
10. Victor Vazquez, 2013
"Wikipedia Notes:Jazz standard, "Song for My Father" original form. Bossa Nova F-minor w/ an AAB head, w/a trumpet & tenor sax play in harmony. Song's noticeable impact in pop music: Opening bass piano notes borrowed by Steely Dan for "Rikki Don't Lose That Number",: Opening horn riff borrowed by Stevie Wonder for "Don't You Worry 'Bout a Thing". Earth Wind & Fire borrowed opening bass notes for "Clover". Paull Weller noted he 'nicked 'the chords The Style Council's 1984 'Me Ship Came In'"
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11. R D JAZZBOY, 2013
"Absolutely brilliant! better than the album recording."
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REPLY
12. richardvilseck, 2013
"Too fast."
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REPLY
13. R D JAZZBOY, 2013
"+richardvilseck
Well, it is faster, but it still swings like crazy so I don't have a problem. If you want to hear a classic that is way to fast in live performance, check out Take Five, live at Carnegie Hall. St. Germain actually used the intro as a sample for their Tourist album."
**
14. Lumina Pacifica, 2013
"RIP Horace Silver. He was a dear friend for over 34 years and one of the most enlightened and gifted souls on this planet. This man and his music, that poured from the depth of his heart, deserve to be celebrated."
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15. Theo Connell, 2013
"Wow, what a tremendous version. Horace, RIP! Great composer, band leader, player."
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16. a oneiill, 2014
"just simply, purely, wonderful, inspired, definitive and timeless"
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17. Ed Macomber, 2014
"Share many fond memories of Horace, and fortunate enough to know Roger Humphries, one of Horace's classic drummers. I get a kick out of watching a left handed drummer handle his kit. This is superb, thanks."
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18. lifesoboring1, 2014
"This has to be one of the liveliest, coolest jazz numbers I have heard."
**
19. Todd From Work, 2014
"If musicians were compensated on skill alone, these men would be billionaires."
**
20. MrMusicguyma, 2014
"I'm not primarily a jazzer, but I am an "appreciator" of any music with guts and soul. This song has always appealed to me, along with Cannonball Adderly's stuff, Sonny Rollins "St Thomas" et al. It seems to me that when bop took a left turn from singable melodies and dance tempos, to create music for solely for "musicians", Jazz cut off its nose to spite its face, and it has never regained popular appeal. I hear that today less than 1% of public buys jazz, that is a pity. America's non-commercial musics are often the most heartfelt, I find. I'd like to see jazz increase in our public consciousness."
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REPLY
21. Gil Daniel, 2018
"MrMusicguyma as (somewhat of) a musician I find the fact that there's a whole genre dedicated to my "kind" very interesting. This "musician's music" been very important for my improvement and also, most of the time, quite fun listening.
Also I dont think it's strictly for musicians, just because it's sometimes not too melodic doesn't mean the "average" man cannot understand it. I give much credit to non-musicians... They can appreciate the more "hard core" jazz no less then any pro."
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22. Barakx8, 2014
"Well, it DOES get better, but this is right up there with the best!"
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23. The World As It Is, 2014
"Love this version! It is so masterful!"
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24. Jim Neely, 2014
"Horace Silver the legend... this recording "Song for My Father" was the essential tune for
all jazz enthusiasts in the late 60's and beyond. This video shows Mr. Silver's actual sweat
falling on the piano keys. Silver's intensity while playing was unmatched. IT DOES NOT GET BETTER THAN THIS!!"
**
25. makjazz7, 2014
"ohhhh my gosh....he's a beaat"
**
26. Intoxicholic, 2014
"Does anyone know if the old Portuguese folk music they're talking about is somewhere online? Probably not. Worth a question anyway I guess."
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REPLY
27. Bill Weiner, 2014
"+Intoxicholic Check out Portuguese Fado music. Has a lot in common feeling with jazz and blues roots. Sensuous."
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REPLY
28. Intoxicholic, 2016
"+Bill Weiner Thanks, will do."
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29. caponsacchi, 2016
"This rigid riff is to Horace what "C-Jam Blues" is to Duke, a lesser tune useful in an introduction to playing jazz class. Duke's tune invites more freedom, swing and soul. Hardman's solo is the highlight of Horace's authoritarian, restrictive drill, making the most of it. Maupin the Oedipal son who overthrows it."
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30. tom knoll, 2016
"One of my favorite pianists...the man, the legend...and one of his best songs...brilliant..."
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31. Don Stanford, 2016
"This has got to be the badist (how ever you spell it) video I've ever seen. That's what you call jamming."
**
32. Reiner Tarzan, 2016
"Theis must be one of the juwels of jazz history. What a genius , Horace Silver. Incredible how he aligns about twenty
variations on the tune, none like the other, all unique!"
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33. Willie Jordan, 2016
"I never get tired of hearing this. I particularly like the trumpet solo from Bill Hardman. He was just another in a very long list of underappreciated talents. But he could blow with the best of 'em. I'd put him against Freddie Hubbard, Lee Morgan, Booker Little, and Donald Byrd any ol' day of the week and feel fairly certain that he'd come out on top. No one could outplay him."
**
34. Zapatogrande, 2016
"Whew! Man when they kick it into the double time during the piano solo, this thing smokes and takes off even more so - Cobham is on fire. As I listen to this it is approximately 49 years after the concert was recorded and it just sound so good! Who cares if it's in black and white - we get it, ¿no? Dig the comping behind the trumpet and tenor solos - pushed the rhythm even more so.
The double time behind Mr. Maupin seems to push him even more so and then there is the almost out of time reflection towards the end of his solo , which then segues into a fast 4/4 exposition of the tune for a bit, while Mr. Silver lays out for a bit -WOW what a wonderful treatment of the song overall, just going where someone would not expect it to go.
And just when you thought that they were finished. Mr.Silver rides it out for some more - wonderful group empathy all over. It lives in this modern day and time as a very unique treatment by the composer."
**
35. RealBro, 2017
"Thank God the Europeans recorded a lot of jazz musicians! We are fortunate to have this treasure trove of live performances when these geniuses were in their stride...."
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36. Willie Jordan, 2017
"If it's possible this live version improves on the recorded version because of the trumpet solo (there is no trumpet solo on the recorded version) by Bill Hardman. His solo is a play over-and-over again piece of music!"
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37. Gene Trujillo, 2018
"With a left hand like that you hardly need a rhythm section! You have to love someone who literally drips sweat when they play. What a beast!"
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38. mpar91, 2018
"Genuine masterpiece...I also play in tribute to my Father, Granfathers, and Great Grandfathers. Much respect to the Legendary Horace Silver. Rest In Peace and Power to the artist and them all.🙏"
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39. Jim Brown, 2018
"I got to hear Horace's quintets a couple of times, first in around 1961, again 10-15 years later. He played with an energy I've heard matched only by McCoy Tyner. Contrary to what you might have heard, THEY were the hardest working men in show biz! The ensemble playing is pretty ragged here as compared to what they sounded like on a good night, but Horace sounds great!"
**
REPLY
40. Charles Duckett Jr., 2018
"My one time to see Horace live was at Fat Tuesday's in NYC, maybe 1990?? The band was super pro & tight. They seemed relaxed but played with complete precision on every tune. Solos were fairly short but burning. Oops, I just remembered that I saw Horace play trio one time too, at the Village Gate I think."
**
41. Garvey Pollard, 2018
"i love cobham but its hard to beat roger humphries' drums on the album. some of the best drums ever played..ever."
**
42. M. M., 2018
"Great to watch this and especially to see a very young Billy Cobham-- interesting to see him playing fluidly on a ride cymbal to his left with his left hand--- I saw him years after Mahavishnu literally from directly above, amazing seat huh, in a medium sized club that had a full surround balcony so you could actually sit above and behind and still see the band, he was much more right hand dominant then doing a lot of his ride work with his right hand - he also dropped a lot of sticks!! which actually made me feel good --- I'm a drummer and it always freaked me out when I'd drop a stick,,,, but not anymore."
**
43. Charles Duckett Jr., 2018
"Horace quotes the Wes Montgomery tune "Road Song" in his solo at 4:08. Intentional? Subliminal? It is a simple lick, possibly random. I doubt that though. Horace knew Wes. Helped put Wes on the "map" when he sat in with Horace's group and blew people away. Not sure what year, I would guess late 50's."
**
44. Umohibom Ette, 2018
"Hard bop at it’s finest. Much love."
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45. Ewerb7, 2018
"Just wonderful! Great playing all around. Classic footage of a wonderful performance. God, how I love jazz!"
**
46. richard von schiltz, 2018
"It is most wonderful for a musician of very high caliber to give honor to his father. Loving one's father and announcing that publicly for Horace speaks volumes to me. Thank you! This is also one of my favorite pieces that Silver so beautifully portrays."
****
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Sunday, June 17, 2018
Thursday, June 14, 2018
Depiction Of Jesus As White And Depiction Of Satan As Black In The Official YouTube Video Of The 2001 Ivory Coast Song "Victoire" By Petit Yodé & L'Enfant Siro
Edited by Azizi Powell
This pancocojams post showcases the Côte d’Ivoire’s 2001 Zouglou song ("Victory") by Petit Yodé & L'Enfant Siro.
Information about is Petit Yodé & L'Enfant Siro is also included in this post along with some of the comments from this official video's discussion thread that refer to the video's depiction of Jesus as White and Satan as Black.
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The content of this post is presented for historical, socio-cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to for this song and thanks to all others who performed in this video. Thanks to all those who are quoted in this post and thanks to the publisher of this video on YouTube.
****
INFORMATION ABOUT PETIT YODE AND l'ENFANT SIRO
From http://www.afrisson.com/Petit-Yode-et-l-Enfant-Siro-14131.html Biographie Discographie Petit Yodé et l’Enfant Siro
Groupes | Côte d’Ivoire | Création : 2000 | Styles : Zouglou par Sylvie Clerfeuille 4 septembre 2014 - © Afrisson
"Anciens membres du groupe Poussins chocs, Dali Djédjé Gervais alias Petit Yodé et l’Enfant Siro ont formé un duo au début des années 2000 et se se sont faits connaitre par plusieurs tubes de zouglou comme "1er jour à Paris", "la vie c’est mollo" et "Sign’Zo".
Poussins chocs
Petit Yodé a connu un grand succès dans le pays dans les années 1990 alors qu’il était membre du groupe "Poussins chocs" dont faisait également partie L’Enfant Siro, Leur grand tube de l’époque est le titre "Asec-Kotoko" parle de l’histoire tragique entre le Ghana et la Côte d’Ivoire après un match entre l’ASEC Mimosas et l’Asante Kotoko en Ligue des champions dans les années 1990).
Petit Yodé & L’Enfant Siro
A la séparation des Poussins chocs suite au décès de Fifi Django, Petit Yodé et L’Enfant Siro forme un duo devenu célèbre dans les années 2000 avec trois albums : Victoire (2001) qui évoque avec ironie la situation économique et politique du pays, Antilaléca comportant les tubes "1er jour à Paris" "et "la vie c’est mollo" puis Signoz parlant de l’effet des signes du zodiaque sur le comportement .
Petit Yodé et l’Enfant Siro on chanté pour la paix en Côte d’Ivoire avec des nombreux artistes de zouglou (Bagnon, Pat Sako d’Espoir 2000, Collectif 1+1, Collectif BCG,"....by Sylvie Clerfeuille 4 September 2014 - © Afrisson
-snip-
[Google translation from French to English, given "as is" with no changes to standard conversational American English]
Groups | Ivory Coast | Creation: 2000 | Styles: Zouglou
"Former members of the group Chicks Shocks, Dali Djédjé Gervais alias Petit Yodé and Child Siro formed a duet in the early 2000s and made themselves known by several tubes of zouglou as "1st day in Paris", "the life 'is soft' and 'Sign'Zo'.
Chicks
Petit Yodé was a big success in the country in the 1990s when he was a member of the group "Chicks shock" which was also part of The Child Siro, Their big hit of the time is the title "Asec-Kotoko" talks about the tragic history between Ghana and Ivory Coast after a match between ASEC Mimosas and Asante Kotoko in the Champions League in the 1990s).
Little Yodé & The Child Siro
At the separation of the chicks shock following the death of Fifi Django, Petit Yodé and The Child Siro forms a duet become famous in the years 2000 with three albums: Victoire (2001) which evokes with irony the economic and political situation of the country, Antilaléca with the tubes "1st day in Paris" and "life is soft" then Signoz speaking about the effect of signs of the zodiac on the behavior.
Petit Yodé and the Enfant Siro we sang for peace in Ivory Coast with many zouglou artists (Bagnon, Pat Sako d'Espoir 2000, Collective 1 + 1, Collectif BCG, ...).
****
SHOWCASE VIDEO: petit yodé et l'enfant siro : victoire
Fromcotedivoire, Published on Jan 14, 2009
jesus va te tolo
-snip-
With two exceptions #47 and #48 which ask & respond to the question "What does this song mean in English?", this compilation highlights some of the numerous comments in this video's discussion thread about that video's depictions of Jesus as White and Satan as Black.
I also couldn't refrain from commenting in this discussion [#21].
French is the language that is used for most of the comments in that entire discussion thread and in this compilation. I've added Google translations from French to English after those comments that are included in this compilation.
Numbers are assigned to these comments for referencing purposes only. I've included explanatory notes for a few of these comments after their translations.
1. akinboade, 2009
"c'est nul que leur jesus soit blanc. jesus n'étais pas blanc, un mensonge occidental de plus. sinon toujours aussi drole cette chanson"
-snip-
"it is bad that their Jesus is white. Jesus was not white, another Western lie. if not always so funny this song
**
REPLY
2. Himmide Williams, 2009
"whether Jesus is white or black, when we all died we will go to hell or heaven it doesn't matter whether you'r black white or yellow (Asian). God is not white or black, people please stop whorshping white people."
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REPLY
3. candygirl86, 2012
"The whites have finally succeeded to convince us that Jesus is white and satan is a black man. This is just sad."
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4. Paula Salvador, 2009
"Je me permets juste une remarque ..
Satan est habillé en noir car il représente le mal qui est souvent associé a cette couleur ! Jesus est habillé en blanc car il représente la pureté ( ca ne veut pas dire que les blancs st bien et les noirs mauvais) .Je trouve que t'as un peu tord de penser like that. Perso, jai vu ce clip pr la 1st time a 10 ans et sa ne m'as pas marqué niveau mentalité! A mon avis c'est juste pour la symbolique."
-snip-
"I just allow myself a remark ..
Satan is dressed in black because he represents the evil that is often associated with this color! Jesus is dressed in white because it represents purity (it does not mean that whites are good and bad blacks). I think you're a little wrong to think like that. Personally, I saw this clip for the 1st time at 10 years and it did not score me mentality level! In my opinion it's just for the symbolic."
**
5. ctadcor, 2010
"jesus est blanc et satan est noir. La colonisation a laisse ses traces sur nous tous les noirs d'Afrique. Dans la Bible, le Satan n'a jamais ete represente comme un noir.
Mais bon, le clip en lui est tres bien, surtout la melodie"
-snip-
"Jesus is white and satan is black. Colonization has left its mark on us all blacks in Africa. In the Bible, Satan has never been represented as black.
But hey, the clip in him is very good, especially the melody"
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REPLY
6. gary durand, 2011
"@ctadcor d'ailleur dans cette même bible il n'a jamais été dis que jésus était blanc :D
nice clip anyway"
-snip-
"@ctadcor from elsewhere in this same Bible it was never said that Jesus was white: :D
nice clip anyway"
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REPLY
7. Frederic ouattara, 2012
"@ctadcor il est marrocain pas blanc, donc c'est un african"
-snip-
"@ctadcor he is Moroccan not white, so it's an african"
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REPLY
8. etrecurieux29, 2013
"pour ton info fabienking, celui que vous appelez jésus était noir, donc celui de la vidéo kil soit blanc ou arabe c pareil il ne représente pas le vrai Yeshoua, donc c toi l'IMBECILE"
-snip-
"for your info fabienking, the one you call jesus was black, so that of the video kil either white or arabic c it does not represent the true Yeshua, so you c the IMBECILE"
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9. CharoCommando, 2011
"Lol . Mrrrdddd Jesus est un Shao-Lin?? très amusante"
-snip-
"Lol. Mrrrdddd Jesus is a Shao-Lin ?? very amusing"
-snip-
From https://en.wikipedia.org/wiki/Shaolin_Kung_Fu
"Shaolin Kung Fu (Chinese: 少林功夫; pinyin: Shàolín gōng fu), also called Shaolin Wushu (少林武術; Shàolín wǔshù) or Shaolin quan (少林拳; Shàolín quán), is one of the oldest, largest, and most famous styles of wushu or kungfu. It combines Zen Buddhism and martial arts and originated and was developed in the Shaolin temple in Henan province, China during its 1500-year history. Popular sayings in Chinese folklore related to this practice include "All martial arts under heaven originated from Shaolin" and "Shaolin kung fu is the best under heaven," indicating the influence of Shaolin kung fu among martial arts. The name Shaolin is also used as a brand for the so-called external styles of kung fu. Many styles in southern and northern China use the name Shaolin."...
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10. cuahtelmoc, 2011
"Rien de tout ça.Il dit que l'un est arrivé dans un kimono blanc et l'autre dans un kimono noir.Il n'a pas dit que l'un était de peau blanche et l'autre de peau noire..Pourquoi voir le racisme partout?quand meme!"
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"None of that.He says that one came in a white kimono and the other in a black kimono.He did not say that one was white skin and the other was black skinned.Why? to see racism everywhere ... anyway!"
**
11. guy morel, 2013
"vraiment, j'ai rigoler et ça fait plus de cinq ans que je l'ai pas écouté. MAIS JE NE SAVAIS PAS QUE JÉSUS était "mauritanien ceinture noir 8eme danne"
-snip-
"I really laughed and it's been over five years since I listened to him. BUT I DID NOT KNOW THAT JESUS was "Mauritanian black belt 8th danne"
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12. Gaetan Junior Keya, 2013
"Qui vous a dit que Satan est noire? Tres drole!."
-snip-
"Who told you that Satan is black? Very funny!"
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13. olivier julienne, 2014
"Arrêtez vos commentaires débiles; c'est plutôt sympa comme chanson.....Emancipate yourselfs from mental slavery!"
-snip-
"Stop your stupid comments; it's pretty cool as a song ..... Emancipate yourselfs from mental slavery!"
**
14. Dedhy diego manucho alvares, 2014
"quel blanc un libanais waiiiiiii!!!!!!!!"
-snip-
"what white a Lebanese waiiiiiii !!!!!!!!"
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REPLY
15. Said Abed, 2015
"+Dedhy diego manucho alvares Il est né à Bethleem en palestine donc il devait plus ressembler à un libanais qu'à autre chose"
-snip-
"+ Dedhy diego manucho alvares He was born in Bethlehem in Palestine so he was more like a Lebanese than anything else"
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REPLY
16. Dedhy diego manucho alvares, 2015
"+Said Abed
lool,mort de rire tu l'a 1 fois vus Jesus, ou tu te bases sur les mensonges de ces connards de blancs ???"
-snip-
"+ Said Abed
lool, death of laughter you've seen Jesus once, or you're based on the lies of these assholes white ???"
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REPLY
17. Dedhy diego manucho alvares, 2015
"laisse les se mentir eux même ,,,"
-snip-
"let them lie themselves,"
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REPLY
18. Bryce Mbassa, 2015
"c'est vous les complexé il pris le nir pour satan parce que c'est prince des ténebre et pour mieux le representer on prend un personnage qui se rapproche du noir s'il n'avaitpas de noir il devait prendre un blanc et l'enduir de couleur noir c'est vous qui identifiez au noir et qui etes complexé et vous prnnez tout pour une offanse meme ce qui ne l'est pas...!"
-snip-
"it is you complexed it took the nir for satan because it is prince of the darkness and to better represent it one takes a character who approaches the black if he did not have black he had to take a white and the to smear in black color it is you who identify with the black and who are complexed and you prnner everything for an offsafe even what is not it ...!"
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REPLY
19. Medullia Madulla, 2015
"Je pense qu'il y en a qui n'ont pas compris le clip. En effet Jésus est "blanc" et Satan est "noir".
On voit que Jésus est sale, édenté et noir "c'est le mal" = (selon de clip) il ne faut pas suivre son exemple. C'est peut être comme ça que certains européens voyais les ivoiriens à l'époque ou les ivoiriens eux-même qui se voyaient comme ça qui sait. A l'opposé Jésus est bien coiffé,immaculé et porte des Sebago ( une marque française de chaussure).
Plusieurs villes ou quartiers sont cités, des personnes sont venues de ces lieux pour assister au combat. Le phénomène n'était pas local mais étendu. Je vais peut être trop loin mais cela montre que la population a assisté, a cautionné et a adhéré à ce changement de culture (peut-être impuissante).
C'est juste une sorte d’autodérision pour montrer comment la culture ivoirienne et les ivoiriens étaient rabaissés à l'époque et que la culture européenne était un modèle.
Mais à travers la musique et la danse, comme le montre le clip, une parti de la culture à pu subsister malgré tout."
-snip-
"I think there are some who did not understand the clip. Indeed Jesus is "white" and Satan is "black".
We see that Jesus is dirty, toothless and black "it's evil" = (according to clip) we must not follow his example. This is perhaps how some Europeans saw the Ivorians at the time or the Ivorians themselves who saw themselves as who knows. On the opposite side, Jesus is well coiffed, immaculate and wears Sebago (a French shoe brand).
Several cities or neighborhoods are mentioned, people came from these places to watch the fight. The phenomenon was not local but extensive. I may go too far, but it shows that people have attended, supported and adhered to this change of culture (perhaps powerless).
It's just a kind of self-deprecation to show how Ivorian culture and Ivorians were belittled at the time and that European culture was a model.
But through music and dance, as shown in the clip, a party of culture could survive anyway."
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REPLY
20. Jola Mimicri, 2015
"Medullia Madulla tu as tout dit"
-snip-
"Medullia Madulla you said it all"
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REPLY
21. Azizi Powell, 2018
"I'm an African American who speaks no French. I learned about this song from numerous commenters in the discussion thread for https://www.youtube.com/watch?v=OInajwCmEnA "MzVee ft Yemi Alade - Come and See My Moda (Official Video)". The commenters said that that song sounds like Victoire's "Petit Yodé".
Whether they song [correction: "sound"] alike or not isn't my reason for commenting here.
First of all, I want to thank YouTube for introducing me and so many others to African music.
I used the Google translate feature to translate this comment exchange (and some others) from French to English. Here are the results I got:
[The English translation is inserted here.]ish translation after EAEAD -s
-snip-
I think that in the second sentence of Medullia Madulla's comment he (or she) meant to write "We see Satan as dirty, toothless and black "it's evil."
Thanks again and One Love!
-snip-
Pancocojams Editor: Here's another correction of what I wrote in that comment on that YouTube discussion thread: I mistakenly gave the artist's name as "Victorie". The artists names are Petit Yodé and L'Enfant Siro and the song's name is “Victoire”.
**
22. MAMAN SO N'DAYE, 2015
"Mh!!! Satan noir et Jésus blanc... après c'est vous les mêmes là qui allez traiter les blancs de racistes et mauvais parce qu'ils voient tout ce qui mauvais en noir. Pitié nous noirs..."
-snip-
"Mh !!! Black Satan and White Jesus ... after that you are the same ones who go to treat whites of racists and bad because they see all that bad in black. Please us black ..."
**
REPLY
23. Inesnes1, 2015
"+MAMAN SO N'DAYE Exactement ce que ma mere viens de me dire. Elle me dit qu'elle aime beaucoup cette chanson, et autre, sauf la representation de Jesus et satan... Triste.."
-snip-
"+ MOM SO N'DAYE Exactly what my mother just told me. She tells me that she really loves this song, and other, except the representation of Jesus and satan ... Sad ..."
**
REPLY
24. Ngilane Ndao, 2015
"+Inesnes1 J'aime cette chanson trop mais je n'ai pas réellement respecter image qu'ils ont donné au peuple noir et blanc les gens et si vous voulez vraiment être véridiques et vrai Jésus était noir et l'Antéchrist ressemble à un blanc Cheveux blonds aux yeux bleus homme que les gens prétendent être Jésus même dans le Coran dans la Bible décrire Jésus avec sèche de laine comme un homme noir pas cheveux soyeux comme homme blanc"
-snip-
"+ From Inesnes1 I love this song too much but I do not really respect the image they gave the people black and white people and if you really want to be truthful and true Jesus was black and the antichrist looks like a white hair blue-eyed blond man that people claim to be Jesus even in the Qur'an in the Bible describe Jesus with dry wool like a black man not silky hair like white man"
**
REPLY
25. dini guer, 2016
"C'est ' ignorance rien d autre..mais d'accord avec vous et d ailleur oui Jesus etait Noir!!"
-snip-
"It's' ignorance nothing else..but agree with you and yes yes Jesus was black !!"
**
REPLY
26. koko baloucci, 2016
"ne prend pas sa au serieux c'est juste un amusement"
-snip-
"do not take it seriously it's just a fun"
**
REPLY
27. Marilyn Teddy, 2016
"MAMAN SO N'DAYE mdr deja faut bien regardé le gar en jesus il est plutot mauritanien faut regardé avnt de Parler cest vous qui stigmatiser tout piff"
-snip-
"MOM SO N'DAYE mdr already had to look at the boy in jesus he is rather Mauritanian must have looked before talking is it you who stigmatize any piff"
**
REPLY
28. Hause Yuyu, 2016
"Marilyn Teddy de quel couleur est sa couleur de peau le mauritanien ???"
-snip-
"Marilyn Teddy what color is his skin color Mauritanian ???"
**
REPLY
29. MAMAN SO N'DAYE, 2016
"Qu'il soit mauritanien ou pas, il s'agit là de la peau claire contre la peau noire. Déjà on compare la peau blanche à la pureté et la noire au malheur. Voilà pourquoi nos sœurs noires sont complexées et se donnent parfois à la dépigmentation. Si nous même en tant que africains nous ne donnons pas de la valeur à notre propre couleur de peau, et nous faisons ces genres de plaisanterie, comment voulons nous que l'homme blanc nous respecte ?"
-snip-
"Whether Mauritanian or not, this is clear skin against black skin. Already we compare white skin to purity and black to unhappiness. This is why our black sisters are complexed and sometimes give themselves to depigmentation. If we as Africans do not value our own skin color, and we do these kinds of jokes, how do we want the white man to respect us?"
**
REPLY
30. MAMAN SO N'DAYE, 2016
"Qu'il soit rouge, orange, ou vert... il représente l'homme blanc puis qu'il est quand même clair. J'ai jamais parlé de nationalité mais plutôt de la couleur de peau
-snip-
"Whether it's red, orange, or green ... he represents the white man and he is still clear. I never spoke about nationality but rather skin color"
**
REPLY
31. Achille_ Nestor, 2018
"Ngile Ndao je pense que c'est une mise en scène un scénario loin de la question de race.."
-snip-
Ngilane Ndao I think it's a staged scenario far from the race question ...
**
32. Rab Kil, 2015
"Que jesus ne soit pas noir c'est normal il était hébreu, arrêtez de voir du racisme partout. J'adore cette chanson."
-snip-
"That Jesus is not black is normal Hebrew, stop seeing racism everywhere. I love this song."
**
REPLY
33. Antoinette Biloa, 2015
"+Rab Kil et que satan soit noir c'est normal ? imbécile !"
-snip-
+ Rab Kil and that satan is black is normal? fool!
**
REPLY
34. Rab Kil, 2015
"Leur logique c'est que Satan est noir comme du charbon parce qu'il est en enfer, la logique n'est pas que l'africain est mauvais comme Satan, réfléchis un peu.Le comédien jouant Satan s'est peint avec une peinture noire si tu a remarqué, même s'il avaient pris un européen, il se serait peint en noir de toute façon. Arrêtez maintenant, dénoncez un racisme qui n'existe pas, ne fait qu'entretenir le racisme!"
-snip-
"Their logic is that Satan is black like coal because he is in hell, the logic is not that the African is bad like Satan, think a little.The actor playing Satan painted himself with a painting black if you noticed, even if he had taken a European, he would have painted black anyway. Stop now, denounce racism that does not exist, only perpetuate racism!"
**
REPLY
35. Toure Ladji Mh, 2015
"+Antoinette Biloa lool"
**
REPLY
36. adjovy, 2015
"+Antoinette Biloa loooool hihihi"
**
37. MAMAN SO N'DAYE, 2015
"+Antoinette Biloa Bien dit ma sœur."
-snip-
"+ Antoinette Biloa Well said my sister."
**
REPLY
38. MAMAN SO N'DAYE, 2015
"+Rab Kil On n'a pas besoin d’ etre forcement noir pour faire le mal. Donc ils pouvaient bien représenter Satan comme blanc avec de mauvais mobiles. Et ça réussi tjrs !!! Dans le clip ou les deux étaient représentés comme des noirs ou comme des blancs."
-snip-
+ Rab Kil One does not have to be black enough to do bad things. So they could well represent Satan as white with bad motives. And it always succeeds !!! In the clip or both were represented as blacks or as whites."
**
39. MarzaLinsolente, 2015
"Regardez moi ca c'est quoi ce délire ? Jésus blanc et satan noir ? Comment cette vidéo a pu être diffusé à l'époque ca n'a choqué personne ? DU N'IMPORTE QUOI CONNARD d'aliéné"
-snip-
"Look at me what is this delirium? White Jesus and black satan? How was this video released at the time that did not shock anyone? FROM ANYTHING CONNARD of alienated"
**
REPLY
40. princesse dejes, 2015
"Soyez simple parfois .. N'importe qui aurait pu jouer n'importe quel role que ca n'aurait rien change'. Vous-meme en les insultant, vous montrez que vous n'etes pas differente d'eux si jamais c'est le complexe d'inferiorite' qui les a inspire's
-snip-
"Be simple sometimes .. Anyone could have played any role that it would not have changed. By insulting them, you show that you are no diff erent from them if it is the inferiority complex that inspired them."
**
REPLY
41. Deeo Mauricette, 2016
"c'est juste pour riiiîi"
-snip-
"it's just for the sake of"
**
REPLY
42. MarzaLinsolente, 2016
"Bien sur que non, c'est une mentalité qu'on a mis dans la tetes des noirs et beaucoup y croient."
-snip-
"Of course not, it is a mentality that has been put in the heads of blacks and many believe it."
**
REPLY
43. MAMAN SO N'DAYE, 2016
"Merci MarzaLinsolente , Toi au moins tu sais de quoi il s'agit.
Nous qui vivons sur leur continent, nous savons de quoi on parle."
-snip-
"Thank you MarzaLinsolente, You at least know what it is.
We who live on their continent, we know what we are talking about."
**
44. your highness, 2016
"Noir joue role de satan et blanc joue role de Jesus"
-snip-
"Black plays role of satan and white plays role of Jesus"
**
REPLY
45. BAPYonguk GukGuk, 2016
"Junior Davis alienation etait super grave a l'epoque !!! maintenant information est plus a notre portee avec internet aussi. Alienation s'en va un peu un peu. Le son est bon quand meme"
-snip-
"Junior Davis alienation was super serious at the time! now information is more to our reach with internet too. Alienation goes a little bit. The sound is good anyway"
**
REPLY
46. Lydia Ewande, 2016
"Junior Davis ce sont les séquelles de l'évangélisation colonialiste"
-snip-
"Junior Davis are the legacy of colonialist evangelization"
**
47. CoraKäfer Marie, 2015
"can someone translate this in english please?"
**
REPLY
48. Paule Andrée Tokale, 2015
"+CoraKäfer Marie he recounts the battle between jesus and satan. the man in black is white and the satan is jesus . and at the end it's jesus who won the fight . This is the summary of the song"
**
49. SIAKA KONE, 2015
"ho pauvre de vous yode et siro, vous chantez bien mais vous rejetez le bien en l'homme noir par la même occasion en vous même . vous montrez aux autres que satan est noir et ce teins noir vous l'avez . en conclusion le noir est satan donc vous et le blanc est jesus"
-snip-
"poor man of you yode and siro, you sing well but you reject the good in the black man at the same time in yourself. you show others that satan is black and that black has you. in conclusion the black is satan so you and the white is jesus"
**
50. Ngilane Ndao, 2015
"J'aime cette chanson trop mais je n'ai pas réellement respecter image qu'ils ont donné au peuple noir et blanc les gens et si vous voulez vraiment être véridiques et vrai Jésus était noir et l'Antéchrist ressemble à un blanc Cheveux blonds aux yeux bleus homme que les gens prétendent être Jésus même dans le Coran dans la Bible décrire Jésus avec sèche de laine comme un homme noir pas cheveux soyeux comme homme blanc"
-snip-
"I love this song too much but I do not really respect the image they gave the people black and white people and if you really want to be truthful and true Jesus was black and the Antichrist looks like a white blond hair with blue-eyed man that people claim to be Jesus even in the Qur'an in the Bible describe Jesus with dry wool like a black man not silky hair like white man"
-snip-
"I love this song too much" = "I really like this song a lot".
**
51. actu infos RAchou actu infos RAchou, 2016
"donc satan est noir et jésus est blanc?lol"
-snip-
"so satan is black and jesus is white? Lol"
**
52. narcisse zida, 2016
"erreur la est que satan etait noire et jesus blank. xa devrait etre tt a fait le contraire."
-snip-
"error is that satan was black and blank jesus. x should be done the opposite."
**
53. Paco bayo, 2016
"Pourquoi lutter contre le racisme en épargnant le dieu des raciste qui n'a choisi que les blancs pour propager son message, choisi en plus une blanche pour son fils, son peuple élu est blanc, et ses principaux représentants sur terre sont toujours des blancs
Les africains christianisés ou islamisés savent que l'Occident n'y est pour rien pour nos malheurs , non c'est satan le coupable lol"
-snip-
"Why fight against racism by sparing the racist god who chose only whites to spread his message, chose a white for his son, his chosen people is white, and his main representatives on earth are still white
Christianized or Islamized Africans know that the West has nothing to do with our misfortunes, no it is satan the culprit lol"
**
REPLY
54. Yohan Sanguy, 2017
"Paco bayo wsh your mouth c a clip"
-snip-
"Paco bayo wsh your mouth c a clip"
**
REPLY
55. LucibelleSuppafly !, 2018
"Que les Blancs??? La Reine de Sabbat, femme du Salomon est éthiopienne et Séphora la femme de Moise est noire. La sœur de Moise a été frappée de la peste par Dieu pour avoir proféré des paroles racistes sur elles. Le clip est mal fait, mais ne mélangeons pas tout...."
-snip-
"What whites ??? The Queen of the Sabbath, wife of the Solomon is Ethiopian and Zipporah the wife of Moses is black. Moses' sister was plagued by God for uttering racist words about them. The clip is poorly done, but do not mix everything ...."
-snip-
"What whites ??? The Queen of the Sabbath, wife of the Solomon is Ethiopian and Zipporah the wife of Moses is black. Moses' sister was plagued by God for uttering racist words about them. The clip is poorly done, but do not mix everything ...."
**
56. mam gyver, 2017
"Quand je lis les commentaires les gens ne retiennent que l'histoire de la représentation du bien et du mal avec le noir en Satan et le blanc en Jesus. Mais c'est et ça reste de l'humour. Dédicace à la chorée les gars sont trop fort la fin donne envie de danser. J'ai bien aimé le clip ça me fait toujours rire. Prendre tous ça au sérieux c'est dommage"
-snip-
"When I read the comments people only remember the story of the representation of good and evil with the black in Satan and the white in Jesus. But it's and it's still humorous. Dedication to chorea guys are too strong the end makes you want to dance. I liked the clip that always makes me laugh. Take it all seriously"
**
57. watchou franclin, 2018
"après plusieurs années quand je vois ce clip loin des émotion et hors mit la bonne qualité de la musique , le message vehiculer est idiot de notre part ,
il en résulte que finalement nous même on a accepte que le noir est une sous race ou tous ce qui est mauvais, et le blanc le paradis ou race supp.
bref c'est a nous et surtout au artiste de changer ce genre de détaille qui font la différence et peut faire office de référence pour d autre personne"
-snip-
"after several years when I see this clip away from emotion and off put the good quality of the music, the message convey is silly on our part,
The result is that finally we ourselves have accepted that black is a sub-race or all that is bad, and the white paradise or race supp.
In short it is up to us and especially the artist to change this kind of detail that make the difference and can serve as a reference for other people"
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This pancocojams post showcases the Côte d’Ivoire’s 2001 Zouglou song ("Victory") by Petit Yodé & L'Enfant Siro.
Information about is Petit Yodé & L'Enfant Siro is also included in this post along with some of the comments from this official video's discussion thread that refer to the video's depiction of Jesus as White and Satan as Black.
****
The content of this post is presented for historical, socio-cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to for this song and thanks to all others who performed in this video. Thanks to all those who are quoted in this post and thanks to the publisher of this video on YouTube.
****
INFORMATION ABOUT PETIT YODE AND l'ENFANT SIRO
From http://www.afrisson.com/Petit-Yode-et-l-Enfant-Siro-14131.html Biographie Discographie Petit Yodé et l’Enfant Siro
Groupes | Côte d’Ivoire | Création : 2000 | Styles : Zouglou par Sylvie Clerfeuille 4 septembre 2014 - © Afrisson
"Anciens membres du groupe Poussins chocs, Dali Djédjé Gervais alias Petit Yodé et l’Enfant Siro ont formé un duo au début des années 2000 et se se sont faits connaitre par plusieurs tubes de zouglou comme "1er jour à Paris", "la vie c’est mollo" et "Sign’Zo".
Poussins chocs
Petit Yodé a connu un grand succès dans le pays dans les années 1990 alors qu’il était membre du groupe "Poussins chocs" dont faisait également partie L’Enfant Siro, Leur grand tube de l’époque est le titre "Asec-Kotoko" parle de l’histoire tragique entre le Ghana et la Côte d’Ivoire après un match entre l’ASEC Mimosas et l’Asante Kotoko en Ligue des champions dans les années 1990).
Petit Yodé & L’Enfant Siro
A la séparation des Poussins chocs suite au décès de Fifi Django, Petit Yodé et L’Enfant Siro forme un duo devenu célèbre dans les années 2000 avec trois albums : Victoire (2001) qui évoque avec ironie la situation économique et politique du pays, Antilaléca comportant les tubes "1er jour à Paris" "et "la vie c’est mollo" puis Signoz parlant de l’effet des signes du zodiaque sur le comportement .
Petit Yodé et l’Enfant Siro on chanté pour la paix en Côte d’Ivoire avec des nombreux artistes de zouglou (Bagnon, Pat Sako d’Espoir 2000, Collectif 1+1, Collectif BCG,"....by Sylvie Clerfeuille 4 September 2014 - © Afrisson
-snip-
[Google translation from French to English, given "as is" with no changes to standard conversational American English]
Groups | Ivory Coast | Creation: 2000 | Styles: Zouglou
"Former members of the group Chicks Shocks, Dali Djédjé Gervais alias Petit Yodé and Child Siro formed a duet in the early 2000s and made themselves known by several tubes of zouglou as "1st day in Paris", "the life 'is soft' and 'Sign'Zo'.
Chicks
Petit Yodé was a big success in the country in the 1990s when he was a member of the group "Chicks shock" which was also part of The Child Siro, Their big hit of the time is the title "Asec-Kotoko" talks about the tragic history between Ghana and Ivory Coast after a match between ASEC Mimosas and Asante Kotoko in the Champions League in the 1990s).
Little Yodé & The Child Siro
At the separation of the chicks shock following the death of Fifi Django, Petit Yodé and The Child Siro forms a duet become famous in the years 2000 with three albums: Victoire (2001) which evokes with irony the economic and political situation of the country, Antilaléca with the tubes "1st day in Paris" and "life is soft" then Signoz speaking about the effect of signs of the zodiac on the behavior.
Petit Yodé and the Enfant Siro we sang for peace in Ivory Coast with many zouglou artists (Bagnon, Pat Sako d'Espoir 2000, Collective 1 + 1, Collectif BCG, ...).
****
SHOWCASE VIDEO: petit yodé et l'enfant siro : victoire
Fromcotedivoire, Published on Jan 14, 2009
jesus va te tolo
-snip-
With two exceptions #47 and #48 which ask & respond to the question "What does this song mean in English?", this compilation highlights some of the numerous comments in this video's discussion thread about that video's depictions of Jesus as White and Satan as Black.
I also couldn't refrain from commenting in this discussion [#21].
French is the language that is used for most of the comments in that entire discussion thread and in this compilation. I've added Google translations from French to English after those comments that are included in this compilation.
Numbers are assigned to these comments for referencing purposes only. I've included explanatory notes for a few of these comments after their translations.
1. akinboade, 2009
"c'est nul que leur jesus soit blanc. jesus n'étais pas blanc, un mensonge occidental de plus. sinon toujours aussi drole cette chanson"
-snip-
"it is bad that their Jesus is white. Jesus was not white, another Western lie. if not always so funny this song
**
REPLY
2. Himmide Williams, 2009
"whether Jesus is white or black, when we all died we will go to hell or heaven it doesn't matter whether you'r black white or yellow (Asian). God is not white or black, people please stop whorshping white people."
**
REPLY
3. candygirl86, 2012
"The whites have finally succeeded to convince us that Jesus is white and satan is a black man. This is just sad."
**
4. Paula Salvador, 2009
"Je me permets juste une remarque ..
Satan est habillé en noir car il représente le mal qui est souvent associé a cette couleur ! Jesus est habillé en blanc car il représente la pureté ( ca ne veut pas dire que les blancs st bien et les noirs mauvais) .Je trouve que t'as un peu tord de penser like that. Perso, jai vu ce clip pr la 1st time a 10 ans et sa ne m'as pas marqué niveau mentalité! A mon avis c'est juste pour la symbolique."
-snip-
"I just allow myself a remark ..
Satan is dressed in black because he represents the evil that is often associated with this color! Jesus is dressed in white because it represents purity (it does not mean that whites are good and bad blacks). I think you're a little wrong to think like that. Personally, I saw this clip for the 1st time at 10 years and it did not score me mentality level! In my opinion it's just for the symbolic."
**
5. ctadcor, 2010
"jesus est blanc et satan est noir. La colonisation a laisse ses traces sur nous tous les noirs d'Afrique. Dans la Bible, le Satan n'a jamais ete represente comme un noir.
Mais bon, le clip en lui est tres bien, surtout la melodie"
-snip-
"Jesus is white and satan is black. Colonization has left its mark on us all blacks in Africa. In the Bible, Satan has never been represented as black.
But hey, the clip in him is very good, especially the melody"
**
REPLY
6. gary durand, 2011
"@ctadcor d'ailleur dans cette même bible il n'a jamais été dis que jésus était blanc :D
nice clip anyway"
-snip-
"@ctadcor from elsewhere in this same Bible it was never said that Jesus was white: :D
nice clip anyway"
**
REPLY
7. Frederic ouattara, 2012
"@ctadcor il est marrocain pas blanc, donc c'est un african"
-snip-
"@ctadcor he is Moroccan not white, so it's an african"
**
REPLY
8. etrecurieux29, 2013
"pour ton info fabienking, celui que vous appelez jésus était noir, donc celui de la vidéo kil soit blanc ou arabe c pareil il ne représente pas le vrai Yeshoua, donc c toi l'IMBECILE"
-snip-
"for your info fabienking, the one you call jesus was black, so that of the video kil either white or arabic c it does not represent the true Yeshua, so you c the IMBECILE"
**
9. CharoCommando, 2011
"Lol . Mrrrdddd Jesus est un Shao-Lin?? très amusante"
-snip-
"Lol. Mrrrdddd Jesus is a Shao-Lin ?? very amusing"
-snip-
From https://en.wikipedia.org/wiki/Shaolin_Kung_Fu
"Shaolin Kung Fu (Chinese: 少林功夫; pinyin: Shàolín gōng fu), also called Shaolin Wushu (少林武術; Shàolín wǔshù) or Shaolin quan (少林拳; Shàolín quán), is one of the oldest, largest, and most famous styles of wushu or kungfu. It combines Zen Buddhism and martial arts and originated and was developed in the Shaolin temple in Henan province, China during its 1500-year history. Popular sayings in Chinese folklore related to this practice include "All martial arts under heaven originated from Shaolin" and "Shaolin kung fu is the best under heaven," indicating the influence of Shaolin kung fu among martial arts. The name Shaolin is also used as a brand for the so-called external styles of kung fu. Many styles in southern and northern China use the name Shaolin."...
**
10. cuahtelmoc, 2011
"Rien de tout ça.Il dit que l'un est arrivé dans un kimono blanc et l'autre dans un kimono noir.Il n'a pas dit que l'un était de peau blanche et l'autre de peau noire..Pourquoi voir le racisme partout?quand meme!"
-snip-
"None of that.He says that one came in a white kimono and the other in a black kimono.He did not say that one was white skin and the other was black skinned.Why? to see racism everywhere ... anyway!"
**
11. guy morel, 2013
"vraiment, j'ai rigoler et ça fait plus de cinq ans que je l'ai pas écouté. MAIS JE NE SAVAIS PAS QUE JÉSUS était "mauritanien ceinture noir 8eme danne"
-snip-
"I really laughed and it's been over five years since I listened to him. BUT I DID NOT KNOW THAT JESUS was "Mauritanian black belt 8th danne"
**
12. Gaetan Junior Keya, 2013
"Qui vous a dit que Satan est noire? Tres drole!."
-snip-
"Who told you that Satan is black? Very funny!"
**
13. olivier julienne, 2014
"Arrêtez vos commentaires débiles; c'est plutôt sympa comme chanson.....Emancipate yourselfs from mental slavery!"
-snip-
"Stop your stupid comments; it's pretty cool as a song ..... Emancipate yourselfs from mental slavery!"
**
14. Dedhy diego manucho alvares, 2014
"quel blanc un libanais waiiiiiii!!!!!!!!"
-snip-
"what white a Lebanese waiiiiiii !!!!!!!!"
**
REPLY
15. Said Abed, 2015
"+Dedhy diego manucho alvares Il est né à Bethleem en palestine donc il devait plus ressembler à un libanais qu'à autre chose"
-snip-
"+ Dedhy diego manucho alvares He was born in Bethlehem in Palestine so he was more like a Lebanese than anything else"
**
REPLY
16. Dedhy diego manucho alvares, 2015
"+Said Abed
lool,mort de rire tu l'a 1 fois vus Jesus, ou tu te bases sur les mensonges de ces connards de blancs ???"
-snip-
"+ Said Abed
lool, death of laughter you've seen Jesus once, or you're based on the lies of these assholes white ???"
**
REPLY
17. Dedhy diego manucho alvares, 2015
"laisse les se mentir eux même ,,,"
-snip-
"let them lie themselves,"
**
REPLY
18. Bryce Mbassa, 2015
"c'est vous les complexé il pris le nir pour satan parce que c'est prince des ténebre et pour mieux le representer on prend un personnage qui se rapproche du noir s'il n'avaitpas de noir il devait prendre un blanc et l'enduir de couleur noir c'est vous qui identifiez au noir et qui etes complexé et vous prnnez tout pour une offanse meme ce qui ne l'est pas...!"
-snip-
"it is you complexed it took the nir for satan because it is prince of the darkness and to better represent it one takes a character who approaches the black if he did not have black he had to take a white and the to smear in black color it is you who identify with the black and who are complexed and you prnner everything for an offsafe even what is not it ...!"
**
REPLY
19. Medullia Madulla, 2015
"Je pense qu'il y en a qui n'ont pas compris le clip. En effet Jésus est "blanc" et Satan est "noir".
On voit que Jésus est sale, édenté et noir "c'est le mal" = (selon de clip) il ne faut pas suivre son exemple. C'est peut être comme ça que certains européens voyais les ivoiriens à l'époque ou les ivoiriens eux-même qui se voyaient comme ça qui sait. A l'opposé Jésus est bien coiffé,immaculé et porte des Sebago ( une marque française de chaussure).
Plusieurs villes ou quartiers sont cités, des personnes sont venues de ces lieux pour assister au combat. Le phénomène n'était pas local mais étendu. Je vais peut être trop loin mais cela montre que la population a assisté, a cautionné et a adhéré à ce changement de culture (peut-être impuissante).
C'est juste une sorte d’autodérision pour montrer comment la culture ivoirienne et les ivoiriens étaient rabaissés à l'époque et que la culture européenne était un modèle.
Mais à travers la musique et la danse, comme le montre le clip, une parti de la culture à pu subsister malgré tout."
-snip-
"I think there are some who did not understand the clip. Indeed Jesus is "white" and Satan is "black".
We see that Jesus is dirty, toothless and black "it's evil" = (according to clip) we must not follow his example. This is perhaps how some Europeans saw the Ivorians at the time or the Ivorians themselves who saw themselves as who knows. On the opposite side, Jesus is well coiffed, immaculate and wears Sebago (a French shoe brand).
Several cities or neighborhoods are mentioned, people came from these places to watch the fight. The phenomenon was not local but extensive. I may go too far, but it shows that people have attended, supported and adhered to this change of culture (perhaps powerless).
It's just a kind of self-deprecation to show how Ivorian culture and Ivorians were belittled at the time and that European culture was a model.
But through music and dance, as shown in the clip, a party of culture could survive anyway."
**
REPLY
20. Jola Mimicri, 2015
"Medullia Madulla tu as tout dit"
-snip-
"Medullia Madulla you said it all"
**
REPLY
21. Azizi Powell, 2018
"I'm an African American who speaks no French. I learned about this song from numerous commenters in the discussion thread for https://www.youtube.com/watch?v=OInajwCmEnA "MzVee ft Yemi Alade - Come and See My Moda (Official Video)". The commenters said that that song sounds like Victoire's "Petit Yodé".
Whether they song [correction: "sound"] alike or not isn't my reason for commenting here.
First of all, I want to thank YouTube for introducing me and so many others to African music.
I used the Google translate feature to translate this comment exchange (and some others) from French to English. Here are the results I got:
[The English translation is inserted here.]ish translation after EAEAD -s
-snip-
I think that in the second sentence of Medullia Madulla's comment he (or she) meant to write "We see Satan as dirty, toothless and black "it's evil."
Thanks again and One Love!
-snip-
Pancocojams Editor: Here's another correction of what I wrote in that comment on that YouTube discussion thread: I mistakenly gave the artist's name as "Victorie". The artists names are Petit Yodé and L'Enfant Siro and the song's name is “Victoire”.
**
22. MAMAN SO N'DAYE, 2015
"Mh!!! Satan noir et Jésus blanc... après c'est vous les mêmes là qui allez traiter les blancs de racistes et mauvais parce qu'ils voient tout ce qui mauvais en noir. Pitié nous noirs..."
-snip-
"Mh !!! Black Satan and White Jesus ... after that you are the same ones who go to treat whites of racists and bad because they see all that bad in black. Please us black ..."
**
REPLY
23. Inesnes1, 2015
"+MAMAN SO N'DAYE Exactement ce que ma mere viens de me dire. Elle me dit qu'elle aime beaucoup cette chanson, et autre, sauf la representation de Jesus et satan... Triste.."
-snip-
"+ MOM SO N'DAYE Exactly what my mother just told me. She tells me that she really loves this song, and other, except the representation of Jesus and satan ... Sad ..."
**
REPLY
24. Ngilane Ndao, 2015
"+Inesnes1 J'aime cette chanson trop mais je n'ai pas réellement respecter image qu'ils ont donné au peuple noir et blanc les gens et si vous voulez vraiment être véridiques et vrai Jésus était noir et l'Antéchrist ressemble à un blanc Cheveux blonds aux yeux bleus homme que les gens prétendent être Jésus même dans le Coran dans la Bible décrire Jésus avec sèche de laine comme un homme noir pas cheveux soyeux comme homme blanc"
-snip-
"+ From Inesnes1 I love this song too much but I do not really respect the image they gave the people black and white people and if you really want to be truthful and true Jesus was black and the antichrist looks like a white hair blue-eyed blond man that people claim to be Jesus even in the Qur'an in the Bible describe Jesus with dry wool like a black man not silky hair like white man"
**
REPLY
25. dini guer, 2016
"C'est ' ignorance rien d autre..mais d'accord avec vous et d ailleur oui Jesus etait Noir!!"
-snip-
"It's' ignorance nothing else..but agree with you and yes yes Jesus was black !!"
**
REPLY
26. koko baloucci, 2016
"ne prend pas sa au serieux c'est juste un amusement"
-snip-
"do not take it seriously it's just a fun"
**
REPLY
27. Marilyn Teddy, 2016
"MAMAN SO N'DAYE mdr deja faut bien regardé le gar en jesus il est plutot mauritanien faut regardé avnt de Parler cest vous qui stigmatiser tout piff"
-snip-
"MOM SO N'DAYE mdr already had to look at the boy in jesus he is rather Mauritanian must have looked before talking is it you who stigmatize any piff"
**
REPLY
28. Hause Yuyu, 2016
"Marilyn Teddy de quel couleur est sa couleur de peau le mauritanien ???"
-snip-
"Marilyn Teddy what color is his skin color Mauritanian ???"
**
REPLY
29. MAMAN SO N'DAYE, 2016
"Qu'il soit mauritanien ou pas, il s'agit là de la peau claire contre la peau noire. Déjà on compare la peau blanche à la pureté et la noire au malheur. Voilà pourquoi nos sœurs noires sont complexées et se donnent parfois à la dépigmentation. Si nous même en tant que africains nous ne donnons pas de la valeur à notre propre couleur de peau, et nous faisons ces genres de plaisanterie, comment voulons nous que l'homme blanc nous respecte ?"
-snip-
"Whether Mauritanian or not, this is clear skin against black skin. Already we compare white skin to purity and black to unhappiness. This is why our black sisters are complexed and sometimes give themselves to depigmentation. If we as Africans do not value our own skin color, and we do these kinds of jokes, how do we want the white man to respect us?"
**
REPLY
30. MAMAN SO N'DAYE, 2016
"Qu'il soit rouge, orange, ou vert... il représente l'homme blanc puis qu'il est quand même clair. J'ai jamais parlé de nationalité mais plutôt de la couleur de peau
-snip-
"Whether it's red, orange, or green ... he represents the white man and he is still clear. I never spoke about nationality but rather skin color"
**
REPLY
31. Achille_ Nestor, 2018
"Ngile Ndao je pense que c'est une mise en scène un scénario loin de la question de race.."
-snip-
Ngilane Ndao I think it's a staged scenario far from the race question ...
**
32. Rab Kil, 2015
"Que jesus ne soit pas noir c'est normal il était hébreu, arrêtez de voir du racisme partout. J'adore cette chanson."
-snip-
"That Jesus is not black is normal Hebrew, stop seeing racism everywhere. I love this song."
**
REPLY
33. Antoinette Biloa, 2015
"+Rab Kil et que satan soit noir c'est normal ? imbécile !"
-snip-
+ Rab Kil and that satan is black is normal? fool!
**
REPLY
34. Rab Kil, 2015
"Leur logique c'est que Satan est noir comme du charbon parce qu'il est en enfer, la logique n'est pas que l'africain est mauvais comme Satan, réfléchis un peu.Le comédien jouant Satan s'est peint avec une peinture noire si tu a remarqué, même s'il avaient pris un européen, il se serait peint en noir de toute façon. Arrêtez maintenant, dénoncez un racisme qui n'existe pas, ne fait qu'entretenir le racisme!"
-snip-
"Their logic is that Satan is black like coal because he is in hell, the logic is not that the African is bad like Satan, think a little.The actor playing Satan painted himself with a painting black if you noticed, even if he had taken a European, he would have painted black anyway. Stop now, denounce racism that does not exist, only perpetuate racism!"
**
REPLY
35. Toure Ladji Mh, 2015
"+Antoinette Biloa lool"
**
REPLY
36. adjovy, 2015
"+Antoinette Biloa loooool hihihi"
**
37. MAMAN SO N'DAYE, 2015
"+Antoinette Biloa Bien dit ma sœur."
-snip-
"+ Antoinette Biloa Well said my sister."
**
REPLY
38. MAMAN SO N'DAYE, 2015
"+Rab Kil On n'a pas besoin d’ etre forcement noir pour faire le mal. Donc ils pouvaient bien représenter Satan comme blanc avec de mauvais mobiles. Et ça réussi tjrs !!! Dans le clip ou les deux étaient représentés comme des noirs ou comme des blancs."
-snip-
+ Rab Kil One does not have to be black enough to do bad things. So they could well represent Satan as white with bad motives. And it always succeeds !!! In the clip or both were represented as blacks or as whites."
**
39. MarzaLinsolente, 2015
"Regardez moi ca c'est quoi ce délire ? Jésus blanc et satan noir ? Comment cette vidéo a pu être diffusé à l'époque ca n'a choqué personne ? DU N'IMPORTE QUOI CONNARD d'aliéné"
-snip-
"Look at me what is this delirium? White Jesus and black satan? How was this video released at the time that did not shock anyone? FROM ANYTHING CONNARD of alienated"
**
REPLY
40. princesse dejes, 2015
"Soyez simple parfois .. N'importe qui aurait pu jouer n'importe quel role que ca n'aurait rien change'. Vous-meme en les insultant, vous montrez que vous n'etes pas differente d'eux si jamais c'est le complexe d'inferiorite' qui les a inspire's
-snip-
"Be simple sometimes .. Anyone could have played any role that it would not have changed. By insulting them, you show that you are no diff erent from them if it is the inferiority complex that inspired them."
**
REPLY
41. Deeo Mauricette, 2016
"c'est juste pour riiiîi"
-snip-
"it's just for the sake of"
**
REPLY
42. MarzaLinsolente, 2016
"Bien sur que non, c'est une mentalité qu'on a mis dans la tetes des noirs et beaucoup y croient."
-snip-
"Of course not, it is a mentality that has been put in the heads of blacks and many believe it."
**
REPLY
43. MAMAN SO N'DAYE, 2016
"Merci MarzaLinsolente , Toi au moins tu sais de quoi il s'agit.
Nous qui vivons sur leur continent, nous savons de quoi on parle."
-snip-
"Thank you MarzaLinsolente, You at least know what it is.
We who live on their continent, we know what we are talking about."
**
44. your highness, 2016
"Noir joue role de satan et blanc joue role de Jesus"
-snip-
"Black plays role of satan and white plays role of Jesus"
**
REPLY
45. BAPYonguk GukGuk, 2016
"Junior Davis alienation etait super grave a l'epoque !!! maintenant information est plus a notre portee avec internet aussi. Alienation s'en va un peu un peu. Le son est bon quand meme"
-snip-
"Junior Davis alienation was super serious at the time! now information is more to our reach with internet too. Alienation goes a little bit. The sound is good anyway"
**
REPLY
46. Lydia Ewande, 2016
"Junior Davis ce sont les séquelles de l'évangélisation colonialiste"
-snip-
"Junior Davis are the legacy of colonialist evangelization"
**
47. CoraKäfer Marie, 2015
"can someone translate this in english please?"
**
REPLY
48. Paule Andrée Tokale, 2015
"+CoraKäfer Marie he recounts the battle between jesus and satan. the man in black is white and the satan is jesus . and at the end it's jesus who won the fight . This is the summary of the song"
**
49. SIAKA KONE, 2015
"ho pauvre de vous yode et siro, vous chantez bien mais vous rejetez le bien en l'homme noir par la même occasion en vous même . vous montrez aux autres que satan est noir et ce teins noir vous l'avez . en conclusion le noir est satan donc vous et le blanc est jesus"
-snip-
"poor man of you yode and siro, you sing well but you reject the good in the black man at the same time in yourself. you show others that satan is black and that black has you. in conclusion the black is satan so you and the white is jesus"
**
50. Ngilane Ndao, 2015
"J'aime cette chanson trop mais je n'ai pas réellement respecter image qu'ils ont donné au peuple noir et blanc les gens et si vous voulez vraiment être véridiques et vrai Jésus était noir et l'Antéchrist ressemble à un blanc Cheveux blonds aux yeux bleus homme que les gens prétendent être Jésus même dans le Coran dans la Bible décrire Jésus avec sèche de laine comme un homme noir pas cheveux soyeux comme homme blanc"
-snip-
"I love this song too much but I do not really respect the image they gave the people black and white people and if you really want to be truthful and true Jesus was black and the Antichrist looks like a white blond hair with blue-eyed man that people claim to be Jesus even in the Qur'an in the Bible describe Jesus with dry wool like a black man not silky hair like white man"
-snip-
"I love this song too much" = "I really like this song a lot".
**
51. actu infos RAchou actu infos RAchou, 2016
"donc satan est noir et jésus est blanc?lol"
-snip-
"so satan is black and jesus is white? Lol"
**
52. narcisse zida, 2016
"erreur la est que satan etait noire et jesus blank. xa devrait etre tt a fait le contraire."
-snip-
"error is that satan was black and blank jesus. x should be done the opposite."
**
53. Paco bayo, 2016
"Pourquoi lutter contre le racisme en épargnant le dieu des raciste qui n'a choisi que les blancs pour propager son message, choisi en plus une blanche pour son fils, son peuple élu est blanc, et ses principaux représentants sur terre sont toujours des blancs
Les africains christianisés ou islamisés savent que l'Occident n'y est pour rien pour nos malheurs , non c'est satan le coupable lol"
-snip-
"Why fight against racism by sparing the racist god who chose only whites to spread his message, chose a white for his son, his chosen people is white, and his main representatives on earth are still white
Christianized or Islamized Africans know that the West has nothing to do with our misfortunes, no it is satan the culprit lol"
**
REPLY
54. Yohan Sanguy, 2017
"Paco bayo wsh your mouth c a clip"
-snip-
"Paco bayo wsh your mouth c a clip"
**
REPLY
55. LucibelleSuppafly !, 2018
"Que les Blancs??? La Reine de Sabbat, femme du Salomon est éthiopienne et Séphora la femme de Moise est noire. La sœur de Moise a été frappée de la peste par Dieu pour avoir proféré des paroles racistes sur elles. Le clip est mal fait, mais ne mélangeons pas tout...."
-snip-
"What whites ??? The Queen of the Sabbath, wife of the Solomon is Ethiopian and Zipporah the wife of Moses is black. Moses' sister was plagued by God for uttering racist words about them. The clip is poorly done, but do not mix everything ...."
-snip-
"What whites ??? The Queen of the Sabbath, wife of the Solomon is Ethiopian and Zipporah the wife of Moses is black. Moses' sister was plagued by God for uttering racist words about them. The clip is poorly done, but do not mix everything ...."
**
56. mam gyver, 2017
"Quand je lis les commentaires les gens ne retiennent que l'histoire de la représentation du bien et du mal avec le noir en Satan et le blanc en Jesus. Mais c'est et ça reste de l'humour. Dédicace à la chorée les gars sont trop fort la fin donne envie de danser. J'ai bien aimé le clip ça me fait toujours rire. Prendre tous ça au sérieux c'est dommage"
-snip-
"When I read the comments people only remember the story of the representation of good and evil with the black in Satan and the white in Jesus. But it's and it's still humorous. Dedication to chorea guys are too strong the end makes you want to dance. I liked the clip that always makes me laugh. Take it all seriously"
**
57. watchou franclin, 2018
"après plusieurs années quand je vois ce clip loin des émotion et hors mit la bonne qualité de la musique , le message vehiculer est idiot de notre part ,
il en résulte que finalement nous même on a accepte que le noir est une sous race ou tous ce qui est mauvais, et le blanc le paradis ou race supp.
bref c'est a nous et surtout au artiste de changer ce genre de détaille qui font la différence et peut faire office de référence pour d autre personne"
-snip-
"after several years when I see this clip away from emotion and off put the good quality of the music, the message convey is silly on our part,
The result is that finally we ourselves have accepted that black is a sub-race or all that is bad, and the white paradise or race supp.
In short it is up to us and especially the artist to change this kind of detail that make the difference and can serve as a reference for other people"
****
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Visitor comments are welcome.
Information About Côte d’Ivoire’s Zouglou Music & YouTube Examples Of Five 1990s Zouglou Classics
Edited by Azizi Powell
This pancocojams post presents information about Côte d’Ivoire’s Zouglou music and showcases YouTube examples of five Zouglou classics.
Selected comments from some of these examples' discussion threads are also included in this post.
****
The content of this post is presented for historical, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all Zouglou musicians and singers in the past and present. Thanks to all showcased in this post and thanks to all those who are quoted in this post. Thanks also to the publishers of these examples on YouTube.
****
INFORMATION ABOUT ZOUGLOU MUSIC
Excerpt #1
From https://www.musicinafrica.net/magazine/zouglou-c%C3%B4te-d%E2%80%99ivoire Zouglou in Côte d’Ivoire
By Anne Schumann Douosson [reprinted from Music In Africa blog/Lamine BA, 19 Feb 2015
"Zouglou is a modern musical genre, but one that has nonetheless undergone several changes since its creation. Zouglou music was declared moribund on several occasions, and the fact that it is still Côte d’Ivoire’s most popular genre speaks to the innovativeness and the resilience of this style and its artists.
[...]
The popularity of zouglou music partly stems from its position as a supra-ethnic, national musical genre - it not associated with any particular region or ethnic group. As a new, urban musical form, zouglou distinguishes itself through its use of the street-slang spoken in Abidjan.
The Origins of Zouglou
The musical roots of zouglou lie in the local Ivorian musical styles tohourou and aloucou from western Côte d’Ivoire, which became popular in the urban centres in the 1960s and 70s. The direct musical base of zouglou music grew out of what is known as ambiance facile or woyo: chants to percussive music on improvised instruments such as metal scrapers, glass bottles and of course drums. This music grew out of the songs that accompanied sports competitions in Côte d‘Ivoire‘s schools during the 1980s. Groups of students that called themselves “supporters committees” would accompany sports teams to the games and make up songs to encourage their teams. As school teams and their supporters committees travelled to matches against other schools across the country, they picked up new melodies and rhythms along the way.
Ambiance facile and woyo music sessions also became a popular past-time in Abidjan’s working class (popular) neighborhoods. In these multi-ethnic neighborhoods, children and teenagers would teach each other songs from their home regions. This mostly unrecorded leisure music is still popular across Côte d’Ivoire. Through the sports matches and neighborhood sessions, ambiance facile drew on rhythms and melodies from many different regions of Côte d’Ivoire. Zouglou music also drew on these rhythms and melodies and thus became the first musical style that was considered to be multi-ethnic and nationally representative of Côte d’Ivoire.
In 1990, zouglou was invented first as a dance among university students residing in the Yopougon student accommodation at the University of Cocody in Abidjan, now known as Felix Houphouet-Boigny University. This dance consisted of throwing one’s arms in the air with angular movements, mimicking an imploration to God to help the university students that were suffering under the budgetary cuts in the education sector (fewer scholarships, inadequate student housing, catering and transport, etc.).
Through the creative energy of the university students, the word “zouglou” became known to the general public. But why “zouglou”, and what does that mean? “Zouglou” in fact is a made-up word, a sort of inside joke to describe this particularly eccentric manner of dancing. However, in a seminal newspaper article about this new genre, this word was interpreted as referring to the Baoulé expression “be ti lè zouglou” (they’re piled up like rubbish). This was a reference to the poor housing conditions in the student dormitories.
[...]
First Generation
[...]
The first recorded zouglou songs are ‘Glogbo Koffi’ (1991) by Didider Bilé et les Parents du Campus Ambiance[i] and ‘Zomamanzo’ (1991) by Poignon and Zougloumania[ii] as well as ‘Ziopin (Faut pas fâcher)’ (1992) by Les Potes de la Rue[iii].
Since these beginnings, Zouglou has been known for its direct, outspoken song texts. Its earliest songs described the deteriorating living conditions of university students or poked fun of ethnic stereotypes. This revolutionized Ivorian music, which until then had typically carried subtler, coded messages.
Second Generation
During the mid-1990s, zouglou was said to be undergoing a severe crisis. Bands had split up, some of the key figures had left the country, and there were disputes and allegations of plagiarism among artists. However, along came two new groups that revolutionized the genre with very sharp satirical and politically engaged song texts: Yodé & Siro (then known as Poussins Chocs) with the song ‘Asec Kotoko’ (1996)[iv] and Les Salopards with their album Génération Sacrifiée (1997)[v]. This was the establishment of second generation of zouglou musicians, which includes some of the most popular zouglou groups, such as the Garagistes with the album Tapis Rouge (2003)[vi] and Espoir 2000 with the album Gloire à Dieu (2006)[vii].
Through its emphasis on social and political criticism, zouglou developed into a form of Ivorian counter-culture. Zouglou musicians represent the perspective of marginalized youth and social underdogs and have been very critical of the devastating behavior of the wealthy and politically powerful in Côte d’Ivoire. Zouglou artists see their role as speaking truth to power, because, according to a famous nouchi (Ivorian street slang) saying, gbê est mieux que drap: “the truth is better than shame”. Zouglou music gave the youth in Abidjan a platform from which to participate in the public debate.
[...]
The second generation was also the generation that was to take zouglou to international fame. In 2000 the song ‘Premier Gaou’ by the group Magic System[viii] became a hit across Africa as well as in the French charts. Magic System have since remained a presence in the French charts, mixing their zouglou with dance music.
Third Generation: Live Performances
Despite their popularity, many zouglou groups in Côte d’Ivoire were finding it difficult to survive financially from their music due to widespread copyright piracy. Zouglou music is predominantly locally produced and recorded, and pirated CDs and VCDs dominate the market. These informal modes of circulation have made the diffusion of zouglou music possible, while at the same time undermining the financial viability of the Ivorian music industry. Widespread copyright piracy has also put great financial pressure on Ivorian record labels: in late 2008, Showbiz, Côte d‘Ivoire’s largest record label that housed up to 80% of local releases, closed down as it was running at a loss. A large number of smaller labels have also closed due to bankruptcy.
Concerts and performances have remained a major source of income for zouglou musicians. Yet until recently zouglou singers performed live primarily via playback or backing tracks. Performances were also hampered by the lack of appropriate venues and the high cost of existing venues. For example, Abidjan’s showcase concert venue, the Palais de la Culture, is one of the most expensive in West Africa.
However, since the late 2000s there has been a new development: many new maquis (open air restaurants) have opened as new affordable performance spaces in which artists now perform live, rather than via playback. This trend is part of the growing professionalism of this musical genre. Les As du Zouglou, Les Pro du Zouglou, Connexion and Zouglou Makers (with their acclaimed album Djamo Djamo in 2014)[ix] are some of the groups of the third generation that regularly perform live in Abidjan. A number of zouglou artists also own and manage such live venues, which have become reference points for Abidjan’s nightlife.
Within a span of 20 years, zouglou music has gone from being the unrecorded past-time of university students to one of most popular musical genres of Côte d’Ivoire and a key part of Ivorian cultural identity. The genre’s popularity has spread beyond national borders across francophone West Africa. Despite the challenges posed by piracy, thanks to its innovative artists zouglou looks set to remain an important part of the country’s cultural landscape for many years to come."
-snip-
YouTube examples of most of the artists that are mentioned in this article are found below.
****
Excerpt #2
From https://en.wikipedia.org/wiki/Zouglou
"Zouglou is a dance oriented style of music originated from Côte d'Ivoire during the mid-1990s.[1] It started with students[1] from the University of Abidjan drawing on elements of other styles of music, especially zouk, ragga and soca music.
Zouglou recounts the various social realities experienced by the Ivorian youth and carries messages, sometimes humorous, sometimes political, or, more often, delivers advice on life. It has since spread elsewhere, including to Burkina Faso, Cameroon and Gabon.
[...]
Zouglou emerged in the '90s as a musical genre and innovative Ivorian made by and for young people....
Popularity
Popular with the youth, the lyrics are written in local languages and French street slang,[1] and has parallels with the evolution of rap in the West. It uses humor[1] to depict anything going wrong in the society."...
****
SHOWCASE EXAMPLES
Example #1: Didier Bile - Gbolo Koffi [1991]
Bi Tra, Published on Aug 31, 2008
-snip-
Here are five comments from this sound file's discussion thread, with English translations from French via Google translates. Numbers are added for referencing purposes only.
1. Snipeace Chris.H., 2008
"le Roi du Zouglou forever..c'est grace a lui ke le mouvement a ete lancé(zouglou,kpaklo,gnakpa) zouuuuuglou woha!!!"
-snip-
"the King of Zouglou forever.it is thanks to him ke the movement was launched (zouglou, kpaklo, gnakpa) zouuuuuglou woha !!!"
**
2. Patrick Cheah, 2008
"i spent 2 years in Cote d'Ivoire and this song brings back a lot of memories17 years later, wow. We all hope and pray things get better!"
**
3. HEAVENLY GATE PICTURE, 2011
"didier bile yuh are the man"
-snip-
"You are the man" is an American vernacular English saying which means "You are the one in charge/You are the best.
4. timite lamine, 2013
"ça me fait rappeler du bon vieux temps LE ZOUGLOU c'est une manière de se libérer en esprit compte tenu des vagues problèmes intempestifs dans la vie sociale et surtout en milieu estudiantin et scolaire"
-snip-
"it reminds me of the good old days LE ZOUGLOU is a way to free oneself in the spirit given the vague untimely problems in social life and especially in school and school"
**
5. Gnamien Moise, 2018
"le seul genre musical ivoirien qui est resté ivoirien. on n'a pas encore vue un pays faire le zouglou a part la cote d'Ivoire. je suis fier. la musique ivoirienne des ivoiriens pour les ivoiriens par la ivoiriens. la belle musique"
-snip-
"the only Ivorian musical genre that remained Ivorian. we have not yet seen a country zouglou aside Ivory Coast. I am proud. Ivorian music of Ivorians for Ivorians by Ivorians. the beautiful music"
****
Example #2: Zoulgoumania - Zomamanzo [1991]
Bi Tra, Published on Apr 23, 2017
****
Example #3: Les Potes de la Rue--Faut pas facher(ziopin) [1992]
Ivorian Songs, Published on Nov 28, 2015
Faut pas facher faut t'amuser
****
Example #4: Les Poussins Chocs (Asec Kôtôkô) [1996]
ivorycoast60, Published on Jun 7, 2009
Artiste: Les Poussins Chocs
Titre: Asec-kôtôkô
Album: Asec Kôtôko
Année: 1996
-snip-
Here are five comments from this video's discussion thread, with English translations from French via Google translates. Numbers are added for referencing purposes only.
1. RAGE INTAKT MUZIK, 2013
"200 milles cassettes vendus en 1 semaine"
-snip-
"200 thousand cassettes sold in 1 week"
**
2. Victor Paye, 2014
"What is he saying ? Sucks I don't speak french"
**
REPLY
3. Mohamed Diaby, 2014
"He is singing about the asec-kotoko incident"
-snip-
The Asec-Kotoko incident" refers to violence, injuries, and killing that occurred in 1993 between Côte d’Ivoirians and Ghanaians as a result of a football (soccer) game. https://www.ghanaweb.com/GhanaHomePage/SportsArchive/Compensate-victims-of-violence-after-1993-Kotoko-Asec-match-83688
"Compensate victims of violence after 1993 Kotoko-Asec match" Soccer News of Wednesday, 15 June 2005
Here's an excerpt from that article:
"Tuesday called on the Governments of Ghana and La C=F4te d'Ivoire to immediately compensate victims of violence that erupted after a match between Kumasi Asante Kotoko and Ivorian club Asec Mimosa in 1993.
They attributed the long delay to deep seated differences among members of the Joint Committee appointed by the two countries to determine the extent of loss of life and injuries and the security threat it posed to the relations between the two sister countries. The Experts that included serving and retired Military, Police, and Immigration Officers, were contributing to a discussion on: "Ghana's Foreign Policy in the West African Sub-region: The Challenges 1992 to 2005," organised by the African Security Dialogue and Research (ASDR) in Accra.
"Justice delayed is justice denied," they said. "The long silence on the payment of just and adequate compensation to the victims on both sides has created an underground security current with the potential of exploding at the least provocation." "
**
4. Mouhamed rasta, 2017
"Super souvenir c était bon,"
-snip-
Great memory it was good,
Alpha Power, 2017
"Yesssss💃💃💃💃Im still dancing to this great music in 2k17✌✌ to my Ivorian people💃💃💃💃"
**
5. Perfect Luce, 2018
"2018 Je suis présent ouiiiiiiiiiiiiiiiiiiiiiiiiiiiii ce sont les vrais qui me donne l'inspiration pour de nouveaux tubes"
-snip-
"2018 I am present yesiiiiiiiiiiiiiiiiiiiiiiiiiiii these are the real ones that gives me inspiration for new tubes"
****
Example #5: Les Salopards / Sans Papiers [1997]
La Dépêche d'Abidjan TV, Published on Apr 22, 2009
-snip-
Here are five comments from this video's discussion thread, with English translations from French via Google translates. Numbers are added for referencing purposes only.
1. Sonde Adama, 2013
"Esclavage,traite négrière,colonisation,dévaluation...aujourd'hui ils nous chassent de chez eux après avoir combattu et construit pour eux,sèches tes larmes AFRIQUE,sèches tes larmes!!"
-snip-
"Slavery, slave trade, colonization, devaluation ... today they drive us from their homes after fighting and building for them, dry your tears AFRICA, dry your tears!"
**
2. Silue Bazoumana, 2015
"Très belle chanson en rappel de la non reconnaissance des droits des noirs après tant de souffrances et d exploitation de la part de l'homme blanc"
-snip-
"Very beautiful song reminding of the non recognition of the rights of the blacks after so much suffering and exploitation on the part of the white man"
**
3. pangni pascal, 2015
"ce groupe était visionnaire a travers ces textes"
-snip-
"this group was visionary through these texts"
**
4. Isaac Witherspone, 2015
"Pourquoi on quitte chez vous pour occidentale ? A cause de votre stupidité, ont n'a arrive pas à gérer vos d'affaires. Chez-nous même quand quelqu'un est payé pour bien travailler ils ne le font pas. Un 'Sans papier' en Europe à plus de dignité que une citoyenne en Côte d'ivoire. En Côte d'ivoire un policier peut te frapper quand il veut et comme il veut pour rien. Chez-nous on n'a arrive pas à voyager librement dans nos propres Pays a cause de peur 'les genres de ordres'."
-snip-
"Why do we leave for westerners? Because of your stupidity, have not managed to manage your business. At home even when someone is paid to work well they do not do it. A 'paperless' in Europe with more dignity than a citizen in Côte d'Ivoire. In Ivory Coast a policeman can hit you when he wants and as he wants for nothing. At home we have not been able to travel freely in our own countries because of fear 'the kinds of orders'.:
**
5. Guy Armel BEKE, 2018
"Vraiment touchant le son, courage à nos frères de l autre côté !!!! Merci aux artistes pour le son"
-snip-
"Really touching the sound, courage to our brothers on the other side !!!! Thanks to the artists for the sound"
****
RELATED LINK
Click http://pancocojams.blogspot.com/2017/03/magic-system-cote-divoire-band-1er-gaou.html for the 2017 pancocojams post "Magic System (Cote D'Ivoire Band) - "Premier Gaou ("1er Gaou") Video & Lyrics".
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This pancocojams post presents information about Côte d’Ivoire’s Zouglou music and showcases YouTube examples of five Zouglou classics.
Selected comments from some of these examples' discussion threads are also included in this post.
****
The content of this post is presented for historical, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all Zouglou musicians and singers in the past and present. Thanks to all showcased in this post and thanks to all those who are quoted in this post. Thanks also to the publishers of these examples on YouTube.
****
INFORMATION ABOUT ZOUGLOU MUSIC
Excerpt #1
From https://www.musicinafrica.net/magazine/zouglou-c%C3%B4te-d%E2%80%99ivoire Zouglou in Côte d’Ivoire
By Anne Schumann Douosson [reprinted from Music In Africa blog/Lamine BA, 19 Feb 2015
"Zouglou is a modern musical genre, but one that has nonetheless undergone several changes since its creation. Zouglou music was declared moribund on several occasions, and the fact that it is still Côte d’Ivoire’s most popular genre speaks to the innovativeness and the resilience of this style and its artists.
[...]
The popularity of zouglou music partly stems from its position as a supra-ethnic, national musical genre - it not associated with any particular region or ethnic group. As a new, urban musical form, zouglou distinguishes itself through its use of the street-slang spoken in Abidjan.
The Origins of Zouglou
The musical roots of zouglou lie in the local Ivorian musical styles tohourou and aloucou from western Côte d’Ivoire, which became popular in the urban centres in the 1960s and 70s. The direct musical base of zouglou music grew out of what is known as ambiance facile or woyo: chants to percussive music on improvised instruments such as metal scrapers, glass bottles and of course drums. This music grew out of the songs that accompanied sports competitions in Côte d‘Ivoire‘s schools during the 1980s. Groups of students that called themselves “supporters committees” would accompany sports teams to the games and make up songs to encourage their teams. As school teams and their supporters committees travelled to matches against other schools across the country, they picked up new melodies and rhythms along the way.
Ambiance facile and woyo music sessions also became a popular past-time in Abidjan’s working class (popular) neighborhoods. In these multi-ethnic neighborhoods, children and teenagers would teach each other songs from their home regions. This mostly unrecorded leisure music is still popular across Côte d’Ivoire. Through the sports matches and neighborhood sessions, ambiance facile drew on rhythms and melodies from many different regions of Côte d’Ivoire. Zouglou music also drew on these rhythms and melodies and thus became the first musical style that was considered to be multi-ethnic and nationally representative of Côte d’Ivoire.
In 1990, zouglou was invented first as a dance among university students residing in the Yopougon student accommodation at the University of Cocody in Abidjan, now known as Felix Houphouet-Boigny University. This dance consisted of throwing one’s arms in the air with angular movements, mimicking an imploration to God to help the university students that were suffering under the budgetary cuts in the education sector (fewer scholarships, inadequate student housing, catering and transport, etc.).
Through the creative energy of the university students, the word “zouglou” became known to the general public. But why “zouglou”, and what does that mean? “Zouglou” in fact is a made-up word, a sort of inside joke to describe this particularly eccentric manner of dancing. However, in a seminal newspaper article about this new genre, this word was interpreted as referring to the Baoulé expression “be ti lè zouglou” (they’re piled up like rubbish). This was a reference to the poor housing conditions in the student dormitories.
[...]
First Generation
[...]
The first recorded zouglou songs are ‘Glogbo Koffi’ (1991) by Didider Bilé et les Parents du Campus Ambiance[i] and ‘Zomamanzo’ (1991) by Poignon and Zougloumania[ii] as well as ‘Ziopin (Faut pas fâcher)’ (1992) by Les Potes de la Rue[iii].
Since these beginnings, Zouglou has been known for its direct, outspoken song texts. Its earliest songs described the deteriorating living conditions of university students or poked fun of ethnic stereotypes. This revolutionized Ivorian music, which until then had typically carried subtler, coded messages.
Second Generation
During the mid-1990s, zouglou was said to be undergoing a severe crisis. Bands had split up, some of the key figures had left the country, and there were disputes and allegations of plagiarism among artists. However, along came two new groups that revolutionized the genre with very sharp satirical and politically engaged song texts: Yodé & Siro (then known as Poussins Chocs) with the song ‘Asec Kotoko’ (1996)[iv] and Les Salopards with their album Génération Sacrifiée (1997)[v]. This was the establishment of second generation of zouglou musicians, which includes some of the most popular zouglou groups, such as the Garagistes with the album Tapis Rouge (2003)[vi] and Espoir 2000 with the album Gloire à Dieu (2006)[vii].
Through its emphasis on social and political criticism, zouglou developed into a form of Ivorian counter-culture. Zouglou musicians represent the perspective of marginalized youth and social underdogs and have been very critical of the devastating behavior of the wealthy and politically powerful in Côte d’Ivoire. Zouglou artists see their role as speaking truth to power, because, according to a famous nouchi (Ivorian street slang) saying, gbê est mieux que drap: “the truth is better than shame”. Zouglou music gave the youth in Abidjan a platform from which to participate in the public debate.
[...]
The second generation was also the generation that was to take zouglou to international fame. In 2000 the song ‘Premier Gaou’ by the group Magic System[viii] became a hit across Africa as well as in the French charts. Magic System have since remained a presence in the French charts, mixing their zouglou with dance music.
Third Generation: Live Performances
Despite their popularity, many zouglou groups in Côte d’Ivoire were finding it difficult to survive financially from their music due to widespread copyright piracy. Zouglou music is predominantly locally produced and recorded, and pirated CDs and VCDs dominate the market. These informal modes of circulation have made the diffusion of zouglou music possible, while at the same time undermining the financial viability of the Ivorian music industry. Widespread copyright piracy has also put great financial pressure on Ivorian record labels: in late 2008, Showbiz, Côte d‘Ivoire’s largest record label that housed up to 80% of local releases, closed down as it was running at a loss. A large number of smaller labels have also closed due to bankruptcy.
Concerts and performances have remained a major source of income for zouglou musicians. Yet until recently zouglou singers performed live primarily via playback or backing tracks. Performances were also hampered by the lack of appropriate venues and the high cost of existing venues. For example, Abidjan’s showcase concert venue, the Palais de la Culture, is one of the most expensive in West Africa.
However, since the late 2000s there has been a new development: many new maquis (open air restaurants) have opened as new affordable performance spaces in which artists now perform live, rather than via playback. This trend is part of the growing professionalism of this musical genre. Les As du Zouglou, Les Pro du Zouglou, Connexion and Zouglou Makers (with their acclaimed album Djamo Djamo in 2014)[ix] are some of the groups of the third generation that regularly perform live in Abidjan. A number of zouglou artists also own and manage such live venues, which have become reference points for Abidjan’s nightlife.
Within a span of 20 years, zouglou music has gone from being the unrecorded past-time of university students to one of most popular musical genres of Côte d’Ivoire and a key part of Ivorian cultural identity. The genre’s popularity has spread beyond national borders across francophone West Africa. Despite the challenges posed by piracy, thanks to its innovative artists zouglou looks set to remain an important part of the country’s cultural landscape for many years to come."
-snip-
YouTube examples of most of the artists that are mentioned in this article are found below.
****
Excerpt #2
From https://en.wikipedia.org/wiki/Zouglou
"Zouglou is a dance oriented style of music originated from Côte d'Ivoire during the mid-1990s.[1] It started with students[1] from the University of Abidjan drawing on elements of other styles of music, especially zouk, ragga and soca music.
Zouglou recounts the various social realities experienced by the Ivorian youth and carries messages, sometimes humorous, sometimes political, or, more often, delivers advice on life. It has since spread elsewhere, including to Burkina Faso, Cameroon and Gabon.
[...]
Zouglou emerged in the '90s as a musical genre and innovative Ivorian made by and for young people....
Popularity
Popular with the youth, the lyrics are written in local languages and French street slang,[1] and has parallels with the evolution of rap in the West. It uses humor[1] to depict anything going wrong in the society."...
****
SHOWCASE EXAMPLES
Example #1: Didier Bile - Gbolo Koffi [1991]
Bi Tra, Published on Aug 31, 2008
-snip-
Here are five comments from this sound file's discussion thread, with English translations from French via Google translates. Numbers are added for referencing purposes only.
1. Snipeace Chris.H., 2008
"le Roi du Zouglou forever..c'est grace a lui ke le mouvement a ete lancé(zouglou,kpaklo,gnakpa) zouuuuuglou woha!!!"
-snip-
"the King of Zouglou forever.it is thanks to him ke the movement was launched (zouglou, kpaklo, gnakpa) zouuuuuglou woha !!!"
**
2. Patrick Cheah, 2008
"i spent 2 years in Cote d'Ivoire and this song brings back a lot of memories17 years later, wow. We all hope and pray things get better!"
**
3. HEAVENLY GATE PICTURE, 2011
"didier bile yuh are the man"
-snip-
"You are the man" is an American vernacular English saying which means "You are the one in charge/You are the best.
4. timite lamine, 2013
"ça me fait rappeler du bon vieux temps LE ZOUGLOU c'est une manière de se libérer en esprit compte tenu des vagues problèmes intempestifs dans la vie sociale et surtout en milieu estudiantin et scolaire"
-snip-
"it reminds me of the good old days LE ZOUGLOU is a way to free oneself in the spirit given the vague untimely problems in social life and especially in school and school"
**
5. Gnamien Moise, 2018
"le seul genre musical ivoirien qui est resté ivoirien. on n'a pas encore vue un pays faire le zouglou a part la cote d'Ivoire. je suis fier. la musique ivoirienne des ivoiriens pour les ivoiriens par la ivoiriens. la belle musique"
-snip-
"the only Ivorian musical genre that remained Ivorian. we have not yet seen a country zouglou aside Ivory Coast. I am proud. Ivorian music of Ivorians for Ivorians by Ivorians. the beautiful music"
****
Example #2: Zoulgoumania - Zomamanzo [1991]
Bi Tra, Published on Apr 23, 2017
****
Example #3: Les Potes de la Rue--Faut pas facher(ziopin) [1992]
Ivorian Songs, Published on Nov 28, 2015
Faut pas facher faut t'amuser
****
Example #4: Les Poussins Chocs (Asec Kôtôkô) [1996]
ivorycoast60, Published on Jun 7, 2009
Artiste: Les Poussins Chocs
Titre: Asec-kôtôkô
Album: Asec Kôtôko
Année: 1996
-snip-
Here are five comments from this video's discussion thread, with English translations from French via Google translates. Numbers are added for referencing purposes only.
1. RAGE INTAKT MUZIK, 2013
"200 milles cassettes vendus en 1 semaine"
-snip-
"200 thousand cassettes sold in 1 week"
**
2. Victor Paye, 2014
"What is he saying ? Sucks I don't speak french"
**
REPLY
3. Mohamed Diaby, 2014
"He is singing about the asec-kotoko incident"
-snip-
The Asec-Kotoko incident" refers to violence, injuries, and killing that occurred in 1993 between Côte d’Ivoirians and Ghanaians as a result of a football (soccer) game. https://www.ghanaweb.com/GhanaHomePage/SportsArchive/Compensate-victims-of-violence-after-1993-Kotoko-Asec-match-83688
"Compensate victims of violence after 1993 Kotoko-Asec match" Soccer News of Wednesday, 15 June 2005
Here's an excerpt from that article:
"Tuesday called on the Governments of Ghana and La C=F4te d'Ivoire to immediately compensate victims of violence that erupted after a match between Kumasi Asante Kotoko and Ivorian club Asec Mimosa in 1993.
They attributed the long delay to deep seated differences among members of the Joint Committee appointed by the two countries to determine the extent of loss of life and injuries and the security threat it posed to the relations between the two sister countries. The Experts that included serving and retired Military, Police, and Immigration Officers, were contributing to a discussion on: "Ghana's Foreign Policy in the West African Sub-region: The Challenges 1992 to 2005," organised by the African Security Dialogue and Research (ASDR) in Accra.
"Justice delayed is justice denied," they said. "The long silence on the payment of just and adequate compensation to the victims on both sides has created an underground security current with the potential of exploding at the least provocation." "
**
4. Mouhamed rasta, 2017
"Super souvenir c était bon,"
-snip-
Great memory it was good,
Alpha Power, 2017
"Yesssss💃💃💃💃Im still dancing to this great music in 2k17✌✌ to my Ivorian people💃💃💃💃"
**
5. Perfect Luce, 2018
"2018 Je suis présent ouiiiiiiiiiiiiiiiiiiiiiiiiiiiii ce sont les vrais qui me donne l'inspiration pour de nouveaux tubes"
-snip-
"2018 I am present yesiiiiiiiiiiiiiiiiiiiiiiiiiiii these are the real ones that gives me inspiration for new tubes"
****
Example #5: Les Salopards / Sans Papiers [1997]
La Dépêche d'Abidjan TV, Published on Apr 22, 2009
-snip-
Here are five comments from this video's discussion thread, with English translations from French via Google translates. Numbers are added for referencing purposes only.
1. Sonde Adama, 2013
"Esclavage,traite négrière,colonisation,dévaluation...aujourd'hui ils nous chassent de chez eux après avoir combattu et construit pour eux,sèches tes larmes AFRIQUE,sèches tes larmes!!"
-snip-
"Slavery, slave trade, colonization, devaluation ... today they drive us from their homes after fighting and building for them, dry your tears AFRICA, dry your tears!"
**
2. Silue Bazoumana, 2015
"Très belle chanson en rappel de la non reconnaissance des droits des noirs après tant de souffrances et d exploitation de la part de l'homme blanc"
-snip-
"Very beautiful song reminding of the non recognition of the rights of the blacks after so much suffering and exploitation on the part of the white man"
**
3. pangni pascal, 2015
"ce groupe était visionnaire a travers ces textes"
-snip-
"this group was visionary through these texts"
**
4. Isaac Witherspone, 2015
"Pourquoi on quitte chez vous pour occidentale ? A cause de votre stupidité, ont n'a arrive pas à gérer vos d'affaires. Chez-nous même quand quelqu'un est payé pour bien travailler ils ne le font pas. Un 'Sans papier' en Europe à plus de dignité que une citoyenne en Côte d'ivoire. En Côte d'ivoire un policier peut te frapper quand il veut et comme il veut pour rien. Chez-nous on n'a arrive pas à voyager librement dans nos propres Pays a cause de peur 'les genres de ordres'."
-snip-
"Why do we leave for westerners? Because of your stupidity, have not managed to manage your business. At home even when someone is paid to work well they do not do it. A 'paperless' in Europe with more dignity than a citizen in Côte d'Ivoire. In Ivory Coast a policeman can hit you when he wants and as he wants for nothing. At home we have not been able to travel freely in our own countries because of fear 'the kinds of orders'.:
**
5. Guy Armel BEKE, 2018
"Vraiment touchant le son, courage à nos frères de l autre côté !!!! Merci aux artistes pour le son"
-snip-
"Really touching the sound, courage to our brothers on the other side !!!! Thanks to the artists for the sound"
****
RELATED LINK
Click http://pancocojams.blogspot.com/2017/03/magic-system-cote-divoire-band-1er-gaou.html for the 2017 pancocojams post "Magic System (Cote D'Ivoire Band) - "Premier Gaou ("1er Gaou") Video & Lyrics".
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Tuesday, June 12, 2018
Jazz Song "Four Or Five Times" by McKinney's Cotton Pickers (1928) and by Sister Rosetta Tharpe with Lucky Millinder & His Orchestra.(1941)
dited by Azizi Powell
This pancocojams post presents a YouTube example of the Jazz song "Four Or Five Times" (also given as "Four Five Times") by McKinney's Cotton Pickers and by Sister Rosetta Tharpe with Lucky Millinder and his Orchestra.
The lyrics for these examples are included in this post along with information about these performers and selected comments from these examples' discussion threads.
****
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to McKinney's Cotton Pickers and Sister Rosetta Tharpe for their musical legacies. Thanks to all those who are quoted in this post and thanks to the publishers of these examples on YouTube.
****
SHOWCASE EXAMPLE #1: McKinney's Cotton Pickers- Four Five Times
Richard L., Published on Dec 29, 2010
-snip-
The McKinney's Cotton Pickers' version of "Four Five Times" is the first recorded example of the Jazz scatting words "Bebop".
****
INFORMATION ABOUT MCKINNEY'S COTTON PICKERS
From https://en.wikipedia.org/wiki/McKinney%27s_Cotton_Pickers
"McKinney's Cotton Pickers were an African American jazz band, in Detroit, Michigan, United States, in 1926 by William McKinney, who expanded his Synco Septet to ten pieces. Cuba Austin took over for McKinney early on drums. Between 1927 and 1931, they were one of the most popular African-American bands. Many of their records for Victor were bestsellers.
In 1927, Fletcher Henderson's arranger and saxophone player Don Redman was invited to become the Cotton Pickers' musical director,[1] and he assembled a band which rivalled Henderson's and Duke Ellington's.[citation needed] Aiding Redman with arrangements and rehearsals with the band was the talented trumpeter-arranger John Nesbitt. The line-up in 1928 was Cuba Austin (drums and vocals), Prince Robinson (clarinet, tenor saxophone), George Thomas (clarinet, alto saxophone, tenor saxophone, vocals; Redman (arranger, clarinet, alto saxophone, baritone saxophone, vocals, and leader), Dave Wilborn (banjo, vocals), Todd Rhodes (piano, celeste), Ralph Escudero (tuba), Nesbitt, Claude Jones (trombone), Milton Senior, Langston Curl (trumpet).[2]"...
****
LYRICS: FOUR FIVE TIMES (as sung by McKinney's Cotton Pickers)
(Composed by Byron Gay / Marco H. Hellman with the title "Four Or Five Times")
[Scatting]
I'm never a flop
[Scatting]
I started on top
[Scatting]
Just keep strolling, keep the ball a-rolling
[Scatting]
This isn't a boast
[Scatting]
But what I like most
[Scatting]
Is to have someone who is true
Who will love me, too!
Four or five times
Four or five times
There is delight
To doing things right
Four or five times
Four or five times!
Maybe I'll sigh
Maybe I'll cry
And if I die
I'm gonna try
Four or five times
Six or seven times!
We like to play
We like to swing
We like to go
Ski-dat-a-dat doh
Four or five times
Four or five times!
Bip-bop one
Bip-bop two
Bip-bop three
Ski-adda-dadda-dee
Four or five times
Four or five times!
[Scatting]
Wow!
[Scatting]
Yes! Sure! Okay!
[Scatting]
What? Yeah!
Four or five times
Four or five times
There is delight
To doing things right
Four or five times
Four or five times!
Source: https://genius.com/Mckinneys-cotton-pickers-four-or-five-times-lyrics
****
SELECTED COMMENTS FROM THE YOUTUBE DISCUSSION THREAD FOR THIS EMBEDDED SOUND FILE OF MCKINNEY'S COTTON PICKERS
(numbers added for referencing purposes only)
1. Barry I. Grauman, 2011
"This was recorded on July 11, 1928, and was one of the first McKinney recordings under the baton of Don Redman (who arranged this as well). Don, George Thomas {lead vocalist}, and Dave Wilborn are the vocal trio. The folllowing day, Redman and the Cotton Pickers recorded the definitive version of his jazz classic, "Cherry" [using a similar arrangement]."
**
2. Mistermaarten150, 2016
"Absolutely lovely... the term 'bebop' by the way was first used in the scat singing in this song, for example after 0:40"
****
Example #2: Sister Rosetta Tharpe ca. 1941 "Four Or Five Times"
harryoakley, Published on Mar 31, 2009
Early footage of Sister Rosetta Tharpe when she was band vocalist with Lucky Millinder and his Orchestra.
-snip-
This video includes footage of African Americans performing jazz (swing) dancing.
****
LYRICS: FOUR OR FIVE TIMES (as sung by Sister Rosetta Tharpe with Lucky Millinder and his Orchestra)
(Composed by Byron Gay / Marco H. Hellman with the title "Four Or Five Times")
Four or five times
Four or five times
It's my delight
Doing things right
Four or five times
Now, maybe I'll sigh
And maybe I'll cry
But if I die
I'm gonna try to do it
Four or five times
I said four or five times
(Four or five times)
Ah, four or five times
(Four or five times)
Now he's my king
He makes me sing
Four or five times
(Yes indeed)
I confess
(I confess)
He is the best
(He is the best)
That's the test
That kills that myth
Four or five times
(Four or five times)
Four or five times
(Four or five times)
Oh, four or five times
You find a guy
That sets the world on fire
Four or five times
(Now you're talkin', Sister)
Now maybe I'm wrong
(Maybe I'm wrong)
Then maybe I'm right
(Maybe I'm right)
But right or wrong
I'm gonna swing this song
Four or five
I said four or five times
Oh, four or five times
It's my delight
Doing things right
Four or five times
Now maybe I'll sigh
Then maybe I'll cry
But if I die
I'm gonna try to do it
Four or five times
One, two, three, four
Ah, four or five times
Source: http://lyrics.wikia.com/wiki/Sister_Rosetta_Tharpe:Four_Or_Five_Times
****
INFORMATION ABOUT LUCKY MILLINDER AND HIS ORCHESTRA
From https://en.wikipedia.org/wiki/Lucky_Millinder
"Lucius Venable "Lucky" Millinder (August 8, 1910[1][2] – September 28, 1966)[3] was an African American rhythm-and-blues and swing bandleader. Although he could not read or write music, did not play an instrument and rarely sang, his showmanship and musical taste made his bands successful. His group was said to have been the greatest big band to play rhythm and blues,[4] and gave work to a number of musicians who later became influential at the dawn of the rock and roll era. He was inducted into the Alabama Jazz Hall of Fame in 1986.
Early career
Millinder was born Lucius Venables in Anniston, Alabama. He took the surname Millinder as a child,[1] and was raised in Chicago. In the 1920s he worked in clubs, ballrooms, and theatres in Chicago as a master of ceremonies and dancer. He first fronted a band in 1931 for an RKO theater tour, and in 1932 took over the leadership of Doc Crawford's orchestra in Harlem. He also freelanced elsewhere.
In 1933, he took a band to Europe, playing residencies in Monte Carlo and Paris. He returned to New York to take over the leadership of the Mills Blue Rhythm Band, which included Henry "Red" Allen, Charlie Shavers, Harry "Sweets" Edison and J. C. Higginbotham, and which had a regular slot at The Cotton Club.
In 1938 he teamed-up with pianist Bill Doggett to front Doggett's group. By 1940 had formed a completely new orchestra, which included Doggett and the drummer "Panama" Francis. Around this time he discovered the established gospel singer and guitarist Rosetta Tharpe, with whom his ensembles performed for many years and first recorded with on four cuts for Decca in 1938.
He established a residency at New York's Savoy Ballroom and won a contract with Decca Records. Dizzy Gillespie was the band's trumpeter for a while and was featured on Millinder's first charting hit, "When the Lights Go On Again (All Over the World)", which reached number 1 on the R&B chart and number 14 on the pop chart in 1942. The follow-up records "Apollo Jump" and "Sweet Slumber" were also big hits, with vocals by Trevor Bacon.
By the mid-1940s the band was drifting towards what came to be known as rhythm and blues."...
****
INFORMATION ABOUT SISTER ROSETTA THARPE
From https://en.wikipedia.org/wiki/Sister_Rosetta_Tharpe
"Sister Rosetta Tharpe (March 20, 1915 – October 9, 1973) was an American singer, songwriter, guitarist, and recording artist. As a pioneer of mid-20th-century music, she attained popularity in the 1930s and 1940s with her gospel recordings, characterized by a unique mixture of spiritual lyrics and rhythmic accompaniment that was a precursor of rock and roll. She was the first great recording star of gospel music and among the first gospel musicians to appeal to rhythm-and-blues and rock-and-roll audiences, later being referred to as "the original soul sister" and "the Godmother of rock and roll".[1][3][4][5][6] She influenced early rock-and-roll musicians, including Little Richard, Johnny Cash, Carl Perkins, Chuck Berry, Elvis Presley and Jerry Lee Lewis.[7][8][9]
Tharpe was a pioneer in her guitar technique; she was among the first popular recording artists to use heavy distortion on her electric guitar, presaging the rise of electric blues. Her guitar playing technique had a profound influence on the development of British blues in the 1960s; in particular a European tour with Muddy Waters in 1963 with a stop in Manchester is cited by prominent British guitarists such as Eric Clapton, Jeff Beck, and Keith Richards.[10]
Willing to cross the line between sacred and secular by performing her music of "light" in the "darkness" of nightclubs and concert halls with big bands behind her, Tharpe pushed spiritual music into the mainstream and helped pioneer the rise of pop-gospel, beginning in 1938 with the recording "Rock Me" and with her 1939 hit "This Train".[11][1] Her unique music left a lasting mark on more conventional gospel artists such as Ira Tucker, Sr., of the Dixie Hummingbirds. While she offended some conservative churchgoers with her forays into the pop world, she never left gospel music.
Tharpe's 1944 release "Down by the Riverside" was selected for the National Recording Registry of the U.S. Library of Congress in 2004, which noted that it "captures her spirited guitar playing and unique vocal style, demonstrating clearly her influence on early rhythm-and-blues performers" and cited her influence on "many gospel, jazz, and rock artists".[12] ("Down by the Riverside" was recorded by Tharpe on December 2, 1948, in New York City, and issued as Decca single 48106.[13]). Her 1945 hit "Strange Things Happening Every Day", recorded in late 1944, featured Tharpe's vocals and electric guitar, with Sammy Price (piano), bass and drums. It was the first gospel record to cross over, hitting no. 2 on the Billboard "race records" chart, the term then used for what later became the R&B chart, in April 1945.[14][15] The recording has been cited as precursor of rock and roll.[8] On December 13, 2017, Tharpe was chosen for induction into the Rock and Roll Hall of Fame as an Early Influence."..
****
SELECTED COMMENTS FROM THE YOUTUBE DISCUSSION THREAD FOR THIS EMBEDDED VIDEO OF SISTER ROSETTA THARPE AND LUCKY MILLINDER & HIS ORCHESTRA
(numbers added for referencing purposes only)
1. Anders Åborg, 2009
"Wonderful! I love SRT and I check her carrier out.. Where did you find this?..."
**
REPLY
2. harryoakley, 2009
"I "found" it in my 16mm jazzfilm collection!"
**
3. chrisb1953, 2010
"She can play a pretty mean guitar also - check out "Up Above My Head". Billy Gibbons from ZZ Top was no doubt inspired."
**
4. Nostalgico80, 2011
"Where's Sister Rosetta's guitar solo :( ?"
**
5. britainluver431, 2012
"She was in her twenties or thirties when this was filmed."
**
6. stars2luv, 2012
"Is this a gospel song??"
**
REPLY
7. Joseph Scott, 2017
"No, it's a comedy song about sex, written by Byron Gay and Marco Hellman. Tharpe didn't quit singing secular songs until a few years later."
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This pancocojams post presents a YouTube example of the Jazz song "Four Or Five Times" (also given as "Four Five Times") by McKinney's Cotton Pickers and by Sister Rosetta Tharpe with Lucky Millinder and his Orchestra.
The lyrics for these examples are included in this post along with information about these performers and selected comments from these examples' discussion threads.
****
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to McKinney's Cotton Pickers and Sister Rosetta Tharpe for their musical legacies. Thanks to all those who are quoted in this post and thanks to the publishers of these examples on YouTube.
****
SHOWCASE EXAMPLE #1: McKinney's Cotton Pickers- Four Five Times
Richard L., Published on Dec 29, 2010
-snip-
The McKinney's Cotton Pickers' version of "Four Five Times" is the first recorded example of the Jazz scatting words "Bebop".
****
INFORMATION ABOUT MCKINNEY'S COTTON PICKERS
From https://en.wikipedia.org/wiki/McKinney%27s_Cotton_Pickers
"McKinney's Cotton Pickers were an African American jazz band, in Detroit, Michigan, United States, in 1926 by William McKinney, who expanded his Synco Septet to ten pieces. Cuba Austin took over for McKinney early on drums. Between 1927 and 1931, they were one of the most popular African-American bands. Many of their records for Victor were bestsellers.
In 1927, Fletcher Henderson's arranger and saxophone player Don Redman was invited to become the Cotton Pickers' musical director,[1] and he assembled a band which rivalled Henderson's and Duke Ellington's.[citation needed] Aiding Redman with arrangements and rehearsals with the band was the talented trumpeter-arranger John Nesbitt. The line-up in 1928 was Cuba Austin (drums and vocals), Prince Robinson (clarinet, tenor saxophone), George Thomas (clarinet, alto saxophone, tenor saxophone, vocals; Redman (arranger, clarinet, alto saxophone, baritone saxophone, vocals, and leader), Dave Wilborn (banjo, vocals), Todd Rhodes (piano, celeste), Ralph Escudero (tuba), Nesbitt, Claude Jones (trombone), Milton Senior, Langston Curl (trumpet).[2]"...
****
LYRICS: FOUR FIVE TIMES (as sung by McKinney's Cotton Pickers)
(Composed by Byron Gay / Marco H. Hellman with the title "Four Or Five Times")
[Scatting]
I'm never a flop
[Scatting]
I started on top
[Scatting]
Just keep strolling, keep the ball a-rolling
[Scatting]
This isn't a boast
[Scatting]
But what I like most
[Scatting]
Is to have someone who is true
Who will love me, too!
Four or five times
Four or five times
There is delight
To doing things right
Four or five times
Four or five times!
Maybe I'll sigh
Maybe I'll cry
And if I die
I'm gonna try
Four or five times
Six or seven times!
We like to play
We like to swing
We like to go
Ski-dat-a-dat doh
Four or five times
Four or five times!
Bip-bop one
Bip-bop two
Bip-bop three
Ski-adda-dadda-dee
Four or five times
Four or five times!
[Scatting]
Wow!
[Scatting]
Yes! Sure! Okay!
[Scatting]
What? Yeah!
Four or five times
Four or five times
There is delight
To doing things right
Four or five times
Four or five times!
Source: https://genius.com/Mckinneys-cotton-pickers-four-or-five-times-lyrics
****
SELECTED COMMENTS FROM THE YOUTUBE DISCUSSION THREAD FOR THIS EMBEDDED SOUND FILE OF MCKINNEY'S COTTON PICKERS
(numbers added for referencing purposes only)
1. Barry I. Grauman, 2011
"This was recorded on July 11, 1928, and was one of the first McKinney recordings under the baton of Don Redman (who arranged this as well). Don, George Thomas {lead vocalist}, and Dave Wilborn are the vocal trio. The folllowing day, Redman and the Cotton Pickers recorded the definitive version of his jazz classic, "Cherry" [using a similar arrangement]."
**
2. Mistermaarten150, 2016
"Absolutely lovely... the term 'bebop' by the way was first used in the scat singing in this song, for example after 0:40"
****
Example #2: Sister Rosetta Tharpe ca. 1941 "Four Or Five Times"
harryoakley, Published on Mar 31, 2009
Early footage of Sister Rosetta Tharpe when she was band vocalist with Lucky Millinder and his Orchestra.
-snip-
This video includes footage of African Americans performing jazz (swing) dancing.
****
LYRICS: FOUR OR FIVE TIMES (as sung by Sister Rosetta Tharpe with Lucky Millinder and his Orchestra)
(Composed by Byron Gay / Marco H. Hellman with the title "Four Or Five Times")
Four or five times
Four or five times
It's my delight
Doing things right
Four or five times
Now, maybe I'll sigh
And maybe I'll cry
But if I die
I'm gonna try to do it
Four or five times
I said four or five times
(Four or five times)
Ah, four or five times
(Four or five times)
Now he's my king
He makes me sing
Four or five times
(Yes indeed)
I confess
(I confess)
He is the best
(He is the best)
That's the test
That kills that myth
Four or five times
(Four or five times)
Four or five times
(Four or five times)
Oh, four or five times
You find a guy
That sets the world on fire
Four or five times
(Now you're talkin', Sister)
Now maybe I'm wrong
(Maybe I'm wrong)
Then maybe I'm right
(Maybe I'm right)
But right or wrong
I'm gonna swing this song
Four or five
I said four or five times
Oh, four or five times
It's my delight
Doing things right
Four or five times
Now maybe I'll sigh
Then maybe I'll cry
But if I die
I'm gonna try to do it
Four or five times
One, two, three, four
Ah, four or five times
Source: http://lyrics.wikia.com/wiki/Sister_Rosetta_Tharpe:Four_Or_Five_Times
****
INFORMATION ABOUT LUCKY MILLINDER AND HIS ORCHESTRA
From https://en.wikipedia.org/wiki/Lucky_Millinder
"Lucius Venable "Lucky" Millinder (August 8, 1910[1][2] – September 28, 1966)[3] was an African American rhythm-and-blues and swing bandleader. Although he could not read or write music, did not play an instrument and rarely sang, his showmanship and musical taste made his bands successful. His group was said to have been the greatest big band to play rhythm and blues,[4] and gave work to a number of musicians who later became influential at the dawn of the rock and roll era. He was inducted into the Alabama Jazz Hall of Fame in 1986.
Early career
Millinder was born Lucius Venables in Anniston, Alabama. He took the surname Millinder as a child,[1] and was raised in Chicago. In the 1920s he worked in clubs, ballrooms, and theatres in Chicago as a master of ceremonies and dancer. He first fronted a band in 1931 for an RKO theater tour, and in 1932 took over the leadership of Doc Crawford's orchestra in Harlem. He also freelanced elsewhere.
In 1933, he took a band to Europe, playing residencies in Monte Carlo and Paris. He returned to New York to take over the leadership of the Mills Blue Rhythm Band, which included Henry "Red" Allen, Charlie Shavers, Harry "Sweets" Edison and J. C. Higginbotham, and which had a regular slot at The Cotton Club.
In 1938 he teamed-up with pianist Bill Doggett to front Doggett's group. By 1940 had formed a completely new orchestra, which included Doggett and the drummer "Panama" Francis. Around this time he discovered the established gospel singer and guitarist Rosetta Tharpe, with whom his ensembles performed for many years and first recorded with on four cuts for Decca in 1938.
He established a residency at New York's Savoy Ballroom and won a contract with Decca Records. Dizzy Gillespie was the band's trumpeter for a while and was featured on Millinder's first charting hit, "When the Lights Go On Again (All Over the World)", which reached number 1 on the R&B chart and number 14 on the pop chart in 1942. The follow-up records "Apollo Jump" and "Sweet Slumber" were also big hits, with vocals by Trevor Bacon.
By the mid-1940s the band was drifting towards what came to be known as rhythm and blues."...
****
INFORMATION ABOUT SISTER ROSETTA THARPE
From https://en.wikipedia.org/wiki/Sister_Rosetta_Tharpe
"Sister Rosetta Tharpe (March 20, 1915 – October 9, 1973) was an American singer, songwriter, guitarist, and recording artist. As a pioneer of mid-20th-century music, she attained popularity in the 1930s and 1940s with her gospel recordings, characterized by a unique mixture of spiritual lyrics and rhythmic accompaniment that was a precursor of rock and roll. She was the first great recording star of gospel music and among the first gospel musicians to appeal to rhythm-and-blues and rock-and-roll audiences, later being referred to as "the original soul sister" and "the Godmother of rock and roll".[1][3][4][5][6] She influenced early rock-and-roll musicians, including Little Richard, Johnny Cash, Carl Perkins, Chuck Berry, Elvis Presley and Jerry Lee Lewis.[7][8][9]
Tharpe was a pioneer in her guitar technique; she was among the first popular recording artists to use heavy distortion on her electric guitar, presaging the rise of electric blues. Her guitar playing technique had a profound influence on the development of British blues in the 1960s; in particular a European tour with Muddy Waters in 1963 with a stop in Manchester is cited by prominent British guitarists such as Eric Clapton, Jeff Beck, and Keith Richards.[10]
Willing to cross the line between sacred and secular by performing her music of "light" in the "darkness" of nightclubs and concert halls with big bands behind her, Tharpe pushed spiritual music into the mainstream and helped pioneer the rise of pop-gospel, beginning in 1938 with the recording "Rock Me" and with her 1939 hit "This Train".[11][1] Her unique music left a lasting mark on more conventional gospel artists such as Ira Tucker, Sr., of the Dixie Hummingbirds. While she offended some conservative churchgoers with her forays into the pop world, she never left gospel music.
Tharpe's 1944 release "Down by the Riverside" was selected for the National Recording Registry of the U.S. Library of Congress in 2004, which noted that it "captures her spirited guitar playing and unique vocal style, demonstrating clearly her influence on early rhythm-and-blues performers" and cited her influence on "many gospel, jazz, and rock artists".[12] ("Down by the Riverside" was recorded by Tharpe on December 2, 1948, in New York City, and issued as Decca single 48106.[13]). Her 1945 hit "Strange Things Happening Every Day", recorded in late 1944, featured Tharpe's vocals and electric guitar, with Sammy Price (piano), bass and drums. It was the first gospel record to cross over, hitting no. 2 on the Billboard "race records" chart, the term then used for what later became the R&B chart, in April 1945.[14][15] The recording has been cited as precursor of rock and roll.[8] On December 13, 2017, Tharpe was chosen for induction into the Rock and Roll Hall of Fame as an Early Influence."..
****
SELECTED COMMENTS FROM THE YOUTUBE DISCUSSION THREAD FOR THIS EMBEDDED VIDEO OF SISTER ROSETTA THARPE AND LUCKY MILLINDER & HIS ORCHESTRA
(numbers added for referencing purposes only)
1. Anders Åborg, 2009
"Wonderful! I love SRT and I check her carrier out.. Where did you find this?..."
**
REPLY
2. harryoakley, 2009
"I "found" it in my 16mm jazzfilm collection!"
**
3. chrisb1953, 2010
"She can play a pretty mean guitar also - check out "Up Above My Head". Billy Gibbons from ZZ Top was no doubt inspired."
**
4. Nostalgico80, 2011
"Where's Sister Rosetta's guitar solo :( ?"
**
5. britainluver431, 2012
"She was in her twenties or thirties when this was filmed."
**
6. stars2luv, 2012
"Is this a gospel song??"
**
REPLY
7. Joseph Scott, 2017
"No, it's a comedy song about sex, written by Byron Gay and Marco Hellman. Tharpe didn't quit singing secular songs until a few years later."
****
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Visitor comments are welcome.
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