Read daily observer 20/09/07
CULTURAL TREASON
This unprofessional occations are too common and a distraction to our honest work of art and culture. These shows cost money and they attract a lot of sponsor, donations and support system, patronised by the ladies of the Gambian rich and certain NGO officials (who use their foreign wages to abuse Gambians young girls) and diplomats. This is diplomatic prostitution.
No Professional Music Events in The Gambia (not one)
There are no music events, no music stage, music festival and the promotion of our talented arts and musicians. Since they cannot use you with what they give for donation they will not recognise you. If the time they spend on fashion shows and beach picnic and Miss summer. There wiull be no more music in the gambia. These trend of Female-exposure events will drag the Gambia into a sex holiday destination.
P/S The Gambia is warming up for Miss Summer" 2007, for a show that is -
8 months away.(May 2007).
Miss Gambia everyday, Every hour, Every munite.
Innocent Gambian Girls looking for a career in entertainmentart of modelling are expose to a LOW-DOWN-DIRTY SHAMELESS pannel of dog judges by unprofessional dickheads and unlicensed agents with false promises and bad intention.Here the human trafficing starts.
Look at these examples
Read Dailyobserver 20/09/07)-Miss May-Day.
1.Miss Gambia
2.Miss Ecowas
3.Miss Bakau
4.Miss AU
5.Miss Tourism
6..Miss Mayday etc, etc, etc, etc, etc,
+ not mentioning the countless, worthless half naked presentations offered to tourists, diplomats, expartraits and senior civil servants in the name of Fashion. The intention of abusing poor and low-income underage girls with the pretext of giving them international stardom when these bogus male agents have no connection with a proper and licened fashion agents. This is ILLEGAL.
Be Mindful Girls
The end game of the competitions do not not potray the cultural advancement of the Gambia in clothes and fashion. They have no professional training and no idea of the procedeur, the moral code of conduct and ethics of the trade.
THE FOOLISH PRIZE MONEY IS 200 DOLLARS
The prizes offered for first prize in the Miss May-Day 2007 is 250 dollars and second 200 dollars (8000 dalasis) and third prize 150 dollars (6 ooo dalasis), 3rd prize (2000 dalasis) and 1000 daladsis to each participant.A good prize is $15000 for first prize wirth a frame certifacate and a golden plague withn a global telecast. Where is all this nonesense coming from?
FISHING LADIES
It is advertised now for the MONTH OF MAY which is million miles long, painful and humilating both to the girls and their families. This is shameful.They are going to parade the innocent girls, sometimes uneducated girls in eveing dresses, swimsuits and bogus African beachwear outfits that has NO purpose in any fashion catalogue.They cannot prove anything.
"You can fool somepeople sometimes
but you can't fool all the people all the time"
NOKIA FACE OF AFRICA
The day when hopeful Gambian girls will show the Face of Gambia on global television to be the face of AFRICA . There was a show in The Gambia but on the website of Nokia face of Africa there is nothing (nada) mentioned about The Gambia.There is no relation between the show in The Gambia and the Nokia project. There is no connection.
GAMBIAN CAN DO IT
We all want to see a professional-Miss Gambia as a face of Africa represention Gambian and African business product and holding interviews as a public relation person for Gambia and Africa worldwide. But this is not the way. There is enough professional material for inquiry and this can be damaging to the individuals concern this is the ROAD TO HELL.
LET GAMBIAN WOMEN DO THE SHOWS
I would like to see these shows in the hands of professionals and to get the Gambia models the right job in rthe right place or just make a fashion show with promises of reaching the stars.
Taking the poor financial state of Gambians for a ride is a deadly sin.
Oko Drammeh
In the arts
musician back home and support him / her by buying instruments for
>him / her, supporting a project he / she is involved in etc. Thanks for
>your concern. I'm glad that you are an Ifangbondi fan. I shall try to fix
>the Ifangbondi day on Raki Web Radio now that my internet problems have
>been fixed. Hope you find the time to listen. Have a good day.
>
>
> Buharry.
>
>----- Original Message ----- From: "Ndey Jobarteh"
>
>To: Sent: Sunday, August 27, 2006 10:46 AM Subject: Re: SV: Ifangbondi -
>History/ Bunda yele
>
>
>>I guess this discussion is getting more and more interesting. I have
>>listened to I fang music through my Mother who is a fan of Infang. She
>>really explains those days with a huge smile in her face and explain some
>>o these lyrics to us. I remember when my Mum starts to play their tapes we
>>will say here she comes again. With my father on the other side listening
>>to the Kaddy Kebbi's (I don't know who sang and narrative the story) and
>>Lallokebba.
>>
>>I started listening to these songs when I came to Europe. I remember going
>>home for holidays recording lot s of these tapes and my parents were so
>>surprised because I never use to listen to these songs. I remember
>>listening to them in my sad days in campus and it really cheers me up and
>>then I understood why my mum and dad were in love with these songs.
>>
>>Anyway my question goes to Oko and Buharry.
>>
>>Could the failure of the Gambian Musicians be due to poor or lack of Good
>>management and advice? I could remember some of these musicians ended up
>>very poor with little hope for life. So what went wrong and what are the
>>lessons to learn for younger generation of Musicians. This is does not
>>only affect Ifang but all others. I don't know how many of you have listen
>>to the Songs and stories of Kaddy Kebba. The lallokebba's little is know
>>about these people even in our generation.
>>
>>In Buharry's analysis we can see a generation of younger Musicians
>>emerging what does the future hold for them?
>>
>>
>>
>>The Struggle Continues!!! Ndey Jobarteh
>>
>>
>>
>>>From: Alieu Sanyang Reply-To: The Gambia and related-issues mailing list
>>>To: [log in to unmask] Subject: Re: SV: Ifangbondi - History/
>>>Bunda yele Date: Sat, 26 Aug 2006 12:50:25 -0700
>>>
>>>Luntang/Modou Alieu, You might be right but don't you think some of
>>>those "rebellions" as you call it have some negative effect on the way
>>>the society also judged the band at that time? Could it be possible
>>>thatthe society also "rebelled" against them? It is very refreshing to
>>>see what is all being said about Ifangbondi and I must admit, I leanrt a
>>>lot from these discussions. Ifangbondi really used to bring a lot of
>>>life in Gunjur jsut like any where else they performed. I am really
>>>looking forwrad to an Ifangbondi day in the Gambia.
>>>
>>> Alieu. Luntang wrote: I will not agree to your assertion "I remember
>>>attending an Ifangbodi show in Gunjur and that night the way most of the
>>>attendees and the band acted was one reason why I think the nation failed
>>>to endorse the band at a higher level " . Yes some Youths used to drink
>>>as a way of rebellion against the Society and as you mentioned some times
>>>some of them coming from a very religious back ground but that blame
>>>should not be laid on IfangBondi .I was among the very first people to
>>>set up Ifangbondi Fans Club in Gunjur together with J.O.J , Amadou Bajo ,
>>>Omar Janneh (Boy Eat) Lamin Darboe and Nfansu Touray that later became
>>>famously known as Dabanani Club .We became the first to bring Ifangbondi
>>>to Gunjur on Koriteh day 1975 to perform both Haware and Night Show
>>>.Ifangbondi always played their best in Gunjur and that was why people in
>>>attendance came as far away as Faraba-banta , Pirang , Bakau , Sukuta and
>>>Brikama .I wish you succeed in organising an Ifangbondi Day .
>>>
>>>Luntang
>>>
>>>
>>>----- Ursprungligt meddelande ----- Fr幩: "Alieu Sanyang" Till: Skickat:
>>>den 26 augusti 2006 16:07 獻ne: Re: Ifangbondi - History/ Bunda yele
>>>
>>>
>>>This is very refreshing. Thanks to all of you for bringing us all back to
>>>life again. I subscribe to having an Ifangbondi day. As one suggested,
>>>the government need to be involved in this. I remember fully how
>>>Ifangbondi was well respected in the sub region especially Senegal and
>>>now having the Senegalese music more in Gambia than our own says a lot
>>>how the system failed the group and our culture. However, one question
>>>that came to mind, and I think Oko might be able to answer this better
>>>is, did Ifangbondi also failed us as a culture? My observation in those
>>>days are they also did fail the Gambia. I remember attending an Ifangbodi
>>>show in Gunjur and that night the way most of the attendees and the band
>>>acted was one reason why I think the nation failed to endorse the band at
>>>a higher level.I even confronted one of them at that time and ask why he
>>>was drinking but for his parents were so religious but I got a rude
>>>awakening answer. And unfortunately he stopped going to school too
>>>because he wanted to be a musician. Most of the people at this show were
>>>drunk and alcohol and prostitution was kind of being an acceptable forum
>>>for where ever the group was.
>>>
>>>Alieu Sanyang.
>>>
>>>
>>>oko drammeh wrote: Fye, Sincere greetings!
>>>
>>>There is an unofficial explaninatin of the lyrics of the song
>>>"Nyepeto-Bunda Yele" since the band never registered the lyrics of the
>>>song with a definative meaning. Maybe brother Badou will mcome up with an
>>>authentic version of the meaning because he co-composed it.
>>>
>>>It is spelled Nyepeto-Meaning a Cockroach.
>>>
>>>The song is a love song that fall on the category of love betrayal. A
>>>wife habours a lover while his husband was away. Returned expectfully and
>>>knock all night but the door never open. Like Bob Marley put it.-"Waiting
>>>in Vain"
>>>
>>>This is a musical family to "Super tem-temb" by Bembeya Jazz National of
>>>Guinea.
>>>
>>>Please note that Ifang bondi (Gambia, Osibisa(Ghana) and Bembeya Jazz
>>>(Guinea) influence one another. .
>>>
>>>As in music, So in Life Peace Oko Buhary.
>>>
>>>Thanks for the history on my favourite band.Ifangbondi did their best but
>>>at the end the system fail them.Let Jammeh stop talking loud and doing
>>>nothing and start supporting our artists as Senegal has been doing for
>>>many years now.
>>>
>>>Btw i have a question for you,Oko or Badou Jobe if he is still with us...
>>>
>>>What does Pa Touray mean in his song *Nyepeto Bundayele* obs. the
>>>spelling.
>>>
>>>Niamorkono.
>>>
>>>
>>>
>>>
>>>On 8/20/06, Momodou Buharry Gassama wrote: > > Hi! > Thanks Oko for the
>>>additional info on Ifangbondi. Pa Musa, Coach and > Karamba, thanks for
>>>realising the role Ifang played in the subregion. I > hope > they will be
>>>given their rightful place very soon, i.e., while the > remaining >
>>>members are still alive. I will dedicate one of these coming days to >
>>>Ifangbondi on Raki Web Radio. I will let you know the day. I hope Dave >
>>>Manneh will be able to tune in as he is an Afromanding fan. Have a good >
>>>night. > > > Buharry. > > > ----- Original Message ----- > From: "pasamba
>>>jow"
>>>
>>> > To: > Sent: Sunday, August 20, 2006 3:45 PM > Subject: Re: Ifangbondi
>>>- History > > > > Buharry, > > Thanks for this wonderful info. It is
>>>always refreshing to read > something > > inspiring about Gambian heroes,
>>>and believe or not the Pap Tourays and > > the Badou Jobes are as
>>>important to the shaping of Gambia's identity as > > any politician. Just
>>>maybe one day, soon i hope, Gambia will put these > > great pioneers in
>>>their right historical place, as Gambia's social and > > cultural icons.
>>> > > Pasamba Jow > > > > Momodou Buharry Gassama wrote: > > Biography: >
>>> > > > For more than twenty years the Gambian roots band Ifang Bondi ('be
>>> > > yourself') has had a leading role within West African popular music.
>>>It > > was one of the first groups that decided to return to its African
>>>roots > by > > playing traditional Manding music. > > > > To talk about
>>>an influential band such as Ifang Bondi, one needs to know > > how its
>>>origins came about. It was the year 1970. The auditorium of > Legon > >
>>>University in Accra (Ghana) was filled to capacity. There was an > >
>>>environment of restless expectation awaiting the arrival on stage of the
>>> > > Super Eagles of The Gambia. The devastating performance of highlife,
>>> > soul, > > Cuban music, reggae and western pop songs which followed,
>>>faultlessly > > delivered by the men in sharp suits, revealed why this
>>>band from The > > Gambia had become West Africa's number one superstar
>>>attraction. West > > Africa had just completed its first decade of
>>>independence and was in > the > > throes of anticolonialist sentiment,
>>>pan-Africanism and 'Say it loud, I > am > > Black and Proud'. This was to
>>>be the last time most people saw the Super > > Eagles, leaving only the
>>>legacy of their all-time classic album 'Viva > > Super Eagles'. > > > >
>>>Unknown to their thousands of fans, this was not the end of the story, >
>>>but > > just the end of the First chapter in one of the longest-running
>>>sagas in > > African musical history. The truth is that the founders of
>>>the band, > > leader Badou Jobe and vocalist Paps Touray had taken a
>>>deliberate > decision > > to end Super Eagles at the height of their
>>>popularity. Being true > > revolutionary pan Africanists and musical
>>>pioneers, they had become > > increasingly disturbed by the music they
>>>were playing and the image they > > presented. Despite the greater fame
>>>and fortune that was theirs for the > > taking. They radically gave it
>>>all up to go back to square one, back to > > the roots, to create
>>>something African for Africans, to challenge the > > cultural imperialism
>>>of the west which still gripped the continent. They > > went into the
>>>bush to sit at the feet of the jelis - the master drummers > > and the
>>>old maestros of the kora, xalam, and bala - the guardians of a > >
>>>thousand years of culture and tradition. > > > > After two years of
>>>exhaustive research and hard practice, Badou Jobe and > > the few
>>>musicians like Paps Touray and Ali Harb, who had felt inspired > to > >
>>>join, came back with unique new music, born from their amazingly rich > >
>>>heritage. To their modern electric outfit, including the novelty of an >
>>> > electric organ, they had added traditional drums, which, next to the >
>>>drum > > kit's chromium sheen and the fancy sunburst of the guitars,
>>>looked like > > alien objects from another planet. The new repertoire,
>>>painstakingly > > composed according to the rules of the jeli teachers,
>>>had meant a > struggle > > with unfamiliar scales and mind-boggling
>>>rhythm structures. They proudly > > coined their music the Afro Manding
>>>Sound after the legendary Manding > > empire, cradle of their West
>>>African culture. > > > > By 1973 the group had shed its eagles' feathers
>>>to reappear as Ifang > Bondi > > ('Be yourself), a fearsome Manding
>>>spirit that puts the newly initiated > to > > the test and seeks out
>>>evildoers within society. The band's First public > > performances were
>>>greeted with dismay and disbelief by their devoted > fans, > > who were
>>>outraged by the 'bush' sound of mbalax and jambadongo rhythms, > >
>>>although the musicians had been careful to hide the sabar (drums) under >
>>> > the British flag. At that time this type of music was considered to be
>>> > > played only at weddings and family-gatherings and not for big
>>>audiences. > > But bandleader Badou Jobe, veteran of an earlier bade
>>>against caste > taboos > > to become a musician in the first place, stuck
>>>by his guns through the > > sticks and stones of this initial period. The
>>>only support at this time > > came from fellow musicians, later to form
>>>Toure Kunda and Super Diamono, > > who appreciated the Afro Manding Sound
>>>for the momentum it was bound to > > give African music. Gradually their
>>> > > revolutionary ideas got accepted, and this was the birth of the
>>>popular > > West African modern music that has since catapulted Toure
>>>Kunda, Youssou > > N'dour, Mory Kante, and Baaba Maal onto the world
>>>stage. > > > > The role of Ifang Bondi has been pivotal - by
>>>rehabilitating the > > traditional musicians they made people aware of
>>>their own heritage, and > > they offered new dimensions to African
>>>artists in search of an authentic > > sound. To rigorously deprive a
>>>devoted public of their pop idols, the > > ultimate symbol of modern
>>>western cultureto induce them to set their > own > > cultural values and
>>>to get rid of the inferiority complex, a > > lingering legacy of
>>>colonialism, had not been a venture for the > > faint-hearted. But > > in
>>>the end the effort proved to be worthwhile. Ifang Bondi have achieved > >
>>>their goal - to create something African for Africans - beyond > >
>>>expectations. > > > > Badou Jobe's innovative ideas, based on a vast
>>>musical knowledge, have > > crystallized into a comprehensive artistic
>>>concept that created also the > > inimitable sound, Ifang Bondi's
>>>trademark. Throughout the years, Ifang > > Bondi has continued to develop
>>>its unique music which reflects the > > enormous variety and richness of
>>>authentic styles, be it Wolof, > Mandingo, > > Fula, Jola or other. The
>>>band's line-up shows a similar ethnic diversity > > They put fresh blood
>>>into musical traditions, not only by a prolific > > output of original
>>>material but also by organizing festivals in which > they > > invited
>>>pop, jazz and reggae musicians from as far as the US and Jamaica > > to
>>>play with traditional performers. > > > > From the beginning Ifang Bondi
>>>have acted as a true academy of music > from > > which many great artists
>>>have graduated. Outside West Africa Ifang Bondi > > has always had a
>>>solid cult following. The infrequency of record > releases, > > all
>>>sought after collector's items, plus the enigmatic personality of > its >
>>> > bandleader, who seems quite happy to stay out of the limelight, "I
>>>once > > opened the door to the hell of stardom, had a good look around,
>>>and > > slammed it shut again", has only enhanced the mystique
>>>surrounding this > > group. Badou Jobe received the prestigious Kora All
>>>Africa Music Award, > > also known as the African Grammy Award, in 1989.
>>> > > > > The band: > > > > Badou Jobe - bass > > El Hadj Samb - vocals,
>>>percussion > > Jali Momodou Suso - kora, vocals > > Juldeh Camara - riti,
>>>vocals > > Lin Diaw - guitars > > Bassirou Mbaye - sabar, bugarabu, tama,
>>>jembe > > Tafa Ndiaye - keyboards > > Ibou Gueye - drums > > > > > > >
>>>--------------------------------------------------------------------------
>>> > > > > Discography: > > > > Saraba (Disques Griot, 1979) > > > > Mantra
>>>(Interstate Records LPH 2366, 1983) > > > > Sanjo (D&K 860017, 1989) > >
>>> > > Daraja (MW Records MWCD 3009, 1994) > > > > Gis Gis (MW Records MWCD
>>>3019, 1998) > > > > > > > > > >
>>>-------------------------------------------------------------------- > >
>>> > > Booking: > > > > Musik + Aktion. Address: Uta Hofmann, Musik +
>>>Aktion, Egilolfstr.77, > 91349 > > Egloffstein, Germany. Phone: +49 (0)
>>>9197697970, Fax: +49(0)9197697971. > > E-mail: [log in to unmask] > > >
>>> > > > > > > > Source:
>>>http://worldmusiccentral.org/artists/artist_page.php?id=1021 > > > > > >
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