Columnist – John Sammon
I’m going to ask this question even though I’m pretty sure I’ll take heat for it. I have to ask, because I pride myself on having the nerve to ask questions very few others will dare.

Yesterday, Al Sharpton appeared with the parents of Michael Jackson to discuss the divvying up of the late king of pop’s estate. I looked at Michael’s parents once again, and I have to ask this question. Why did Michael Jackson have a medical procedure to make himself look like a white man? And why have champions of equal justice for African Americans such as Mr. Sharpton not been critical of it?

Was Michael ashamed to be a black man?

Nobody is denying Michael’s immense success, or his talent (if you like his form of song and dance). Nobody is denying his right to it. But I’m going to ask.

Jackson was old enough to have grown up in the 1960s when African Americans had to resort to protest, and in some cases violence (and no, I’m not advocating violence. I’m a fan of M.L. King/Gandhi-style non-V), to show white Americans that the country was racist. Much of it still is.

So, I’m working my nerve up. Here I go. Why is it, when black militants were chanting “I’m black and I’m proud,” Michael seemed to be saying, “I’m up tight and I wanna’ be white?”

Was it not cool to be black?

Why did Michael Jackson alter his skin color and medically change who he was? He also had his hair straightened. At the end of his life, he looked sort of like a deathly pale figure of the grim reaper, that figurative skeleton with the sickle who represents death.

Why have black leaders such as Sharpton never questioned the motivation behind this?

It’s everybody right, after all, to have a nose job, or dye their hair, or have breast implant. But I’ll ask again. During a time when it was important to be black and to be proud of it, recognizing the achievements of African Americans that go beyond just sports. Recognizing that he would serve as a figurehead of success, he turned himself (using his millions to pay for it) into an imitation white man. Why?

Did he want to look like Mick Jagger? Is being born black not good enough for you? Obviously, Michael isn’t around to answer that. I don’t think he would even if he was.

No black performer, not Sam Cooke, not James Brown, or even Sammy Davis, ever had his skin color changed. I’m the first one to admit there might be more here than meets the eye and maybe something went right over my head. But I’m pretty certain Michael looked a lot whiter at the end than he did at the beginning.

Perhaps Mr. Sharpton with his gift of eloquence can answer that. He usually has an answer for just about everything.

Phyllis Diller had three hundred face lifts and I’m not faulting Michael’s right to use his own money the way he sees fit. But at a time when African Americans needed all the role models they could get, why the white skin graft? How was this procedure done?

I’m interested to hear from readers what they think. Al, it’s in your corner.

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Special Read — On Negrophobia: Psychoneurotic Obstacles to Black Autonomy (or Why I just love Michael Jackson)
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Michael Jackson, You Are NOT The Father!

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People carry an U.S. flag as they celebrate U.S. President-elect Senator Barack Obama’s historic White House victory in Nairobi’s Kibera slum on Wednesday. Kenyans in Obama’s ancestral homeland sang and danced with joy on Wednesday as the Illinois senator they see as one of their own became the first black U.S. president.

Kenyan relatives of U.S. Democratic presidential nominee Senator Barack Obama celebrate his victory in Nyangoma Kogelo village, 430 km (267 miles) west of Kenya’s capital Nairobi on Wednesday.

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NYANGOMA KOGELO, KENYA Some of Senator Barack Obama’s Kenyan relatives — from left to right, Said Obama, Mama Sarah and Auma Obama — met with reporters on Wednesday to talk about Mr. Obama’s victory.

James brown,say it loud I’m black and I’m proud

Mock U.S polls in Kisumu, Kenya

Obama victory celebrations in Kisumu, Kenya

Victory Celebrations in Kogelo, Kenya

Kenyan President Mwai Kibaki declares public holiday

Meiway (Frederic Desire Ehui) a.k.a “Monsieur Zoblazo” or the “Genius of Bassam”; was born on March 17th, 1962 in Grand-Bassam, a coastal town west of Abidjan, in the Ivory Coast. His signature music style is “Zoblazo,” a catchy rhythm from southern Ivory Coast. Read the full story

African villagers performing their own version of James Brown’s hit: “Sex Machine.” — What a pleasant surprise!

The set — probably, a village in the Democratic Republic of Congo (DRC), judging by the language(s) used in the Singing: Kiswahili, Lingala [A "Lingua Franca" in the DRC], and of course “mangled” English.

James Brown’s influence stretches far and wide — He has been described as: “The Hardest-Working Man in Show Business,” “Soul Brother Number One,” “the Godfather of Soul,” and “the Minister of New New Super Heavy Funk.” James Maycock of PBS says:

“James Brown is unquestionably one of the most charismatic musical icons of the 20th century. An irrepressible performer, ruthless but highly proficient bandleader, awesome dancer, and, unquestionably, the man who flipped soul music on its head to create funk, Brown became a huge black cultural symbol in the 1960s and ’70s. He’s certainly altered the course of black popular music more than once, with his innovations flowing into the careers of Michael Jackson, Mick Jagger, Public Enemy, Prince, and a multitude of others — including my humble brothers performing in the video below.

Click PLAY button To Watch | Visit AfricanMusicForum.com For More!

| For More African Music Videos: Click Here |

Part of the chorus — “Nakupenda Sana Bibi Yangu,” translates from Kiswahili to English as: “I love you so much my ‘wife’,” where “Bibi” is Kiswahili for Wife. In a traditional African setting, Bibi can also mean girlfriend, and/or “concubine.”

The Congolese are a “musical people” — music readily flows in their veins the same way — “long-distance running” flows in the veins of the Kenyan and Ethiopian people of East Africa.

Kinshasa, DRC Congo’s capital, has been one of the great centers of musical innovation in Africa, producing crop after crop of excellent soloists and harmonists.

Despite constant turmoil and debilitating poverty in the DRC, the Congolese have never wavered musically. Their enthusiasm is steady and unfaltering.

To me, they are the “finest of best” musicians in black Africa.

Here is the original “Sex Machine” — Performed “live” by the “Godfather of Soul” — James Brown, in 1976

BONUS – “Sina Makosa” Performed by “Les Wanyika” — An East African “Kiswahili Rumba” Classic

Related Post(s):

1. Luciano Pavaroti & James Brown in Concert
2. Awilo Longomba – Performing Hit: ‘Karolina’
3. Spotlight on Franco – One of Africa’s Best, Ever!
4. Roots of Congolese Rumba Music
5. AfricaSounds.com — contains excellent coverage of Congolese music — Congo Kinshasa Updates – By Martin Sinnock.
6. VIEW ALL BLOG POSTS

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The late Franco [a.k.a L'Okanga La Ndju Pene Luambo Luanzo Makiadi] and his T.P. OK Jazz is arguable the best musician Black Africa has ever produced. Some have called him “The James Brown of Africa,” the “Godfather of Soul.”

Performing in French, Lingala, Kiswahili and other native Congolese languages, Franco was a master of Rumba [African Rumba], a style of music that originated in Congo, and evolved into Soukous music

Franco accentuated the “Afro-Latin” beat — a complex mixture of Cuban sons, boleros and Congolese folk music.

Sadly, Congolese maestro, the “sorcerer of the Guitar,” the “Grand Maitre of Zairean Music,” Luambo Luanzo Makiadi, died in a hospital in Brussels, Belgium, in 1989 at the age of 51. Just before his death, he recorded his AIDS-consciousness anthem “Attention Na SIDA” [Beware of AIDS]. Although never officially mentioned [taboo], Franco’s death was HIV related.

Africa lost a “Music Goliath.”

Many, if not ALL modern Congolese musicians from Music rich Zaire [Now DRC -- Democratic Republic of Congo] owe their success to L’Okanga La Ndju Pene Luambo Luanzo Makiadi.

Among Franco’s proteges were Lutumba Simaro Massiya [a.k.a. Le Poet], for many years, his deputy band leader. Lutumba succeeded Franco after his death, but after quarrels with Franco’s family, quit to form Bana OK — together with fabulous Franco proteges like — Josky Kiambukuta, Ndombe Opetum, Malage de Lugendo and Ntessa Dalienst.

Below is Malage de Lugendo performing one of Franco’s classics – “Infidelite Mado,” With Shiko Mawatu doing a very “credible imitation” of Franco’s guitar work – at a recent performance by the band “Soukous Stars,” in New Jersey [USA].

Many have tried to emulate Franco’s style, but none will ever do it quite like him, instead African Rumba has evolved into “Soukous” and “Techno-Soukous,” which are more up-tempo. Here is Techo-Soukous star, Awilo Longomba performing his hit — Karolina.

Franco sings “Toyeba Yo” with protege Sam Mangwana — 1970′s

Franco & T.P. O.K. Jazz – “Kimpa Kisangameni” (1983)

The “Sorcerer Of The Guitar” Performs “Bokolo Bana Ya Mbanda Na
Yo Malamu” (1976)

•    Vocals: Franco, Michèl Boyibanda, Josky Kiambukuta, Wuta Mayi
•    Rhythm Guitar: Probably Lutumba Simaro, Possibly Gègè Mangaya
•    Bass: Mpudi Decca
•    Percussions: Bosuma Dessoin or DuPoole
•    Batterie: Ntoya
•    Alst Sax: Dele Pedro

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| More Franco Music | AfricanMusicForum.com | Franco Music Videos on PoliticalArticles.NET |
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