My last article discussed Youssoupha’s album NGRTD. While reading the lyrics of his song entourage, I realized Youssoupha discussed many of the same themes MC Solaar touches on in his early albums produced some 20 years ago. While you could write a novel on the thematic similarities of African hip hop produced two decades apart, there was one distinguishing factor of Youssoupha’s newer music that, hopefully, is indicative of improvements in African communities at home and abroad: the in-your-face nature of NGRTD across a top-5 album in the French music charts. Continue reading “Excuse my Wolof”
Known by his stage name “Youssoupha”, Youssoupha Mabiki embodies the defining characteristics of progressive French rappers in his song Entourage. A captivating story of immigration, education, and social consciousness defines Youssoupha’s rise to prominence in a crowded French rap scene.
Youssoupha was born in Zaire (today the Democratic Republic of the Congo) in 1979 as the son of a Congolese musician and Senegalese mother. Similar to many adolescents in the francophone world, the family decided a western education was in order and sent Youssoupha to live with relatives along France’s Mediterranean coast. Youssoupha dedicated himself to his studies through graduate school, when he decided to dedicate his life to music. Continue reading “NGRTD”
Who is Astou Gaye, and how did she set the contemporary precedent for aspiring female rappers in the banlieus surrounding Dakar?
Better known by her stage name Toussa Senerap, Astou began her career calling out a highly-patriarchal Senegalese culture that withholds respect for women in both marriage and the hip-hop industry. There is no questioning Astou’s commitment to overturning society’s status-quo: her first experience with rap was in 50 Cent’s international banger, “In da Club” – a testament to selling drugs and pimping women that Astou transformed into a struggle for women’s emancipation. Continue reading “Toussa, or all-inclusive”
“Senegal slang” signifies more than its catchy nature would insinuate.
It is impossible to watch this “Y’en a marre” (enough is enough) video without recollecting Golden-Age American hip hop artists discuss social progression some 20 to 30 years after the civil rights movement. The video begins with Senegalese rapper Djily Baghdad discussing crumbling social and political institutions contemporary with the 2011 Arab Spring movements. Continue reading “L’argot de Sénégal”
Mohammed Sylla (MHD) performed in front of thousands of Senegalese in Dakar in December 2017. This concert, staged in front of the 49-meter-tall African Renaissance Monument, united the international phenomenon MHD with domestically-popular Senegalese hip-hop artists in an evening ripe with music, dance, and humor. Continue reading “MHD en sa Patrie”