TIPTOPSTARS

Jeffery Epule and Nsang Dilong, two of Cameroon’s finest actors, have been selected and hired to run an African-focus show meant for Fox 28 Columbus, Ohio and Fox 28 Indiana. The TV outfits are affiliates of the renowned Fox Broadcasting Company in the United States of America. The said reality show, Africa’s Window on the World will be a platform to showcase identified young and talented Africans living in the diaspora, in various domains.

Africans in the United States who have a penchant for entertainment and Cameroon in particular, with the same taste buds for showbiz, are about now pulling themselves together, ahead of what observers here describe as the most-awaited event of the year - the launching of Africa Mama by B1. B1 is a frontline African musician of Cameroonian origin.

The said event, billed for Maryland on Saturday April 11, 2014 has been highly publicized and this is being followed by endless excitement and anxiety. “I can’t wait to be in MD on that day. I’ll be there not only to enjoy the great songs B1 is known to always produce, but to support my brother,” Ajong, a Cameroon movie actress living in Columbus, Ohio told TIPTOPSTARS. “He’s always been a great musician, I admire his talent and zeal in the art he knows best,” the actress cum B1 fan went on. Just like Ajong, scores of other entertainers are set to hit the road for Maryland come April for the album launch whose echoes are fast penetrating all corners of the globe.

According to the celebrant artist, there has been confirmation that some of the USA-based Cameroonians who matter in the domain of entertainment will be attending the event. “A lot of them will be making it to Maryland – in fact, as we speak, they have their tickets in hand,” B1 told Editor Ernest Kanjo, when we reached the singer to find out how ready his team was for the event. The said august guests include amongst others the President, Secretary General and Public Relations Officer of the National Actors’ Guild of Cameroon, NAGCAM– USA, Terence N. Limona, Beatrice Nwana and Edith Pikwa respectively who will be flying in from Texas, film producer/ writer and producer Ken Shally Monette and Elian Mambo respectively from Minnesota, co-producer of the Cameroon Movie Merits Awards, CMMA Mairo Sanda from Atlanta and the CEO of the Africa Gas Association Anne Ngono Ngozi.

The Maryland-based author of Africa Mama, popularly known and admired for his Ndolo Dance creation said he is particularly impressed with the immeasurable support he has had from peers and fans vis-à-vis the upcoming event. “It’s really been a wonderful feedback and I’m convinced that more concern and support will be displayed on April 11,” Bi said further.

Meanwhile, scores of other singers have announced their participation at the B1 album launch. On the list, we have B1’s longtime music associates such Alexis Emile (with whom the artist did Les Lions Sont Forts, a 2014 World Cup track), Jigga Flames, Ebeny Amstrong, Alice Austin, George Okudi, Evelyn Bright, Sis. Comfort and Kay Zeey. Perhaps, the sensation guests singers for the event are Bonaventure Jr., 11 and Denzel, 9, who make up the C-Boyz child band. “The boys are set for the event and have been very excited about it,” Marie Ndapqwe, mother of the two up-and-coming urban music artists told TIPTOPSTARS.

Organizers of the B1 album launch have told us that the event which will be hosted by renowned USA-based Cameroonian promoter, Marechal Tiano, with Dj Selmo as main sound system man, starts at 8pm and will run into the early hours of April 12.

Made up of eight tacks (Africa Mama, Na Only You, Ngondere, Ndolo Dance, Move Ya Body, Soul mate, How We Go Do and Pretty Lady), B1’s new album features other singers such as Evelyn Bright (the artist’s biological sister), Vreezy Ville, Alexis E. and Kay Zeey. It comes after some of the songs, inclusive, were produced as single tracks, including the famous Ndolo Dance.

Cameroonian urban music continues to give birth to upholders of this contemporary culture. Amazingly, these young boys and girls are turning out to be extraordinary creative and each in their own respect carving out a niche for themselves. It suffices to keenly listen to them and you would have a good doze of salient messages they are whipping across.

Newzy Mukulah could be new in the scene, but his music senses are interestingly hyper active. Ca Ne Me Laisse Pas, the Yaounde-based rapper’s debut single, represents this assertion. The track, now fast becoming a sensation is a whole lot of musical logic. First, it tells the story, considered to have the closest rapport with urban music – ghetto life. But then, Newzy’s own, is the one the young, yet talented rapper experienced. So, it comes from the bottom of his heart.

For one thing, Newzy stays within the confines of the promotion of Cameroonianess in contemporary music. To effect, he would go by the languages his fellow country folks would be familiar with – English, French and pidgin (lingua franca). The latter have grasped the message from Ca Ne Me Laisse Pas, have liked the track and are showing proof of this. “Ca Ne Me Laisse Pas could be heard being chanted everywhere including campuses,” a report from Newzy’s team indicated. “Yaounde city dwellers even have the track as ring tones on their phones and this indicates to what extent Ca Ne Me Laisse Pas is loved,” the report say further.

Produced by DJ Dandy and released in January 2015, the 3.41-minutes long single has been acclaimed by other up-and-coming urban music artists including Banye Bansoboy.

Meanwhile, Newzy has his dreams intact. He nurses ambitions of taking up the leading position in the Cameroonian rap movement and grabbing prizes as they come his way.

For more information about him, contact:

www.facebook.com/NewzyMukulah
www.twitter.com/NewzyMukulah
www.youtube.com/watch?v=oGqT3msgqVQ
www.reverbnation.com/Newzymukulah
www.soundcloud.com/mukulah

Just before scribbling this eulogy, this writer, in a conversation with a young Cameroonian of the Afro-hop generation drowned himself in a deep reflection. The latter’s very little knowledge about Guy Lobe, Cameroon’s legendary makossa singer just fallen, did not surprise me. He was not born of the generation that lived the sweet glories of the Cameroonian genre. “He is the lucky one,” I told myself. “He won’t have to fry his head nor sink in such misery we are going through.” Of course, the young man won’t have to batter his thoughts about the genre that is not falling alone, but fading along with its heroes. Then, I began to understand how non-awareness at times could be safer.

But, the Guy Lobe generation has to bear this weight – no choice! I now assigned myself the task of explaining what Guy Lobe meant and still means to Cameroon. My listener was interested for an obvious reason – in this Hip-Hop age, if a makossa artist of yesteryears becomes prominent on social media, then there is more to it than meets the eyes. So, he gave me his attention.

In my exposé, I told the keen listener that Guy Lobe is (hate to use ‘was’ in this case) to makossa/Cameroonian music what Michael Jackson was to Pop. He owns some of the richest chapters in the enviable history book of the country’s music history. Makossa, today being said to have hit the rock was and in some places in the world still considered as the genre that has created an indelible mark in the history of African music. Its power spilled across the boundaries of Cameroon. This was thanks to some icons, amongst them the fallen hero, Guy Lobe.

As young school boys, I told my listener, we savoured Guy’s music like mad. His style was unique. His duala (Cameroonian mother tongue spoke by natives the country’s coastal region and the economic capital Douala) was clear enough to be synchronized and you had the impression (even when you did not hail from Douala) that you understood what Guy was singing about. His French wordings came out so clearly. His pidgin (lingua franca) was decodable. Guy’s voice was the irresistible charm. Perhaps, his own makossa beats were those that whisked you off your seat, even if your music senses were numb. In short, Guy made likeable!

He was a Douala boy and they knew how to brand themselves! His cassette jackets were a representation of brilliant stylishness with designer outfit that were meant for him alone. Guy and co had ferried makossa to Europe, to France were it was known, liked and savoured. He would tour Africa, Europe and the rest of the world and provided his audiences with the infinite pleasure of enjoying Esele Mba, Mon Ami a Moi, Solitude, Union Libre, Degager, etc.

Just like other musicians at the time, Guy Lobe was a celebrity. This meant you would always express your wish to watch him perform live someday. Cameroonians living in the then Provincial (today regional) headquarters occasionally had the opportunity to do so when he came calling in one of those famous music caravans that were en vogue back in the days. For others, TV had to do the trick. And so excitement and anxiety would take control of the scene each time CTV (later CRTV – Cameroon Radio and Television) Speakerines (as programme announcers were described) announced that Guy Lobe was going to be guest on Tele Podium. Tele Podium was a crowd-pulling music show run by ace singer Elvis Kemayo. We would defy sleep, stay awake to watch the makossa icon do his thing later in the night on the show. It was the same scenario with V Comme Vedette, hosted by Foly Dirane or Tropicana by Rose Mbole Epie. If Guy Lobe was going to be guest on Tam-Tam Weekend, it was the same excitement.

For one thing, Guy was a gifted composer. You would have the impression that each day he went to sleep, he woke up with a new song. This was reflected in his consistent release of a new album every year. In fact, the time lapse between Cocou (1990) and Malinga (1991) would have been just a couple of months.

As time went by, Guy gathered more fame, fans, friends. He inspired many along the way and whipped in serious decisions in some – the decision to ply the music road in the quest to give their country what big brother had given with his all. Makossa maestros such as Papillon, Nguea La Route and Sergeo Polo became pioneer examples of Guy’s disciples. The trio are said to be related to the fallen singer, the first two biologically.

In the mid 2000s, Sergeo Polo had a couple of scintillating tracks with Guy Lobe, amongst them the sweet-sounding Africaines, folkloric Alliance and Jenny. Those songs were a manifestation of brilliant vocalizations exhibited by the duo. And each featuring Guy Lobe did earlier or later was a masterpiece.

It’s true in recent years, the makossa legend had slowed down his pace, naturally stemming from his elderliness. However, an unfortunate heart accident (as Guy himself put it in an interview) kept him really low-keyed within the last two to three years. Earlier rumours of his passing on had been dispelled and his fellow country folks were glad to know Guy was still alive, until his last breathe came on Monday March 16, 2015, exactly one year after Lapiro de Mbanga (of blessed memory) bid bye.

Shock and consternation, but consolation in the fact that Guy Lobe had lived a professionally fulfilled life! If his makossa was his own contribution to Cameroon’s cultural development, then Guy scored excellent. He may have gone, but his music plays on. But wait – artists done pass on – they live forever! Long live Guy Lobe, the bao! Vive l’artiste! Vive Guy!