Mishe Fon,
The issue at stake is that there are too many cliques in this whole issue of who is in and who is out. And the jilted lover-boy Romeo Dika who smarted and continues to smart about many things: that Sam Mbende soundly thrashed him in elections for SOCAM President and again today seems the best bet to resolve the disgraceful-controversial Ndedi Eyango saga, that his dream wife was snatched from him by "un laid blanc" (you surely remember his piece Le mari de ma femme, n'est pas beau mais elle l'aime quand meme").
Such a bitter soul with lots of hurt instead of nursing and licking his wounds silently so they can heal resolves on a logic of always bashing his more successful peers. And Sam Mbende logically becomes target for Dika's swipe - this man who always appears to have all the answers, who is slick (I mean effortless), articulate and knowledgeable in matters of authors' rights and the law, a veritable legal egghead when you listen to him set loose his tongue, and whose re-appearance again today snuffs out the infinitesimal possibility of the multiply thrashed Dika finally having the chance to preside over the corporation with a lot of "nkap".
The likes of Romeo Dika are society's "nattering nabobs of negativism" (courtesy Agnew Spiro), whose bitterness at not always qualifying to be in the limelight pushes them to always wear dark glasses. Such pessimists can never accept that another person, especially a peer and a fellow competitor, can and should continue to outshine them. After all what do you expect of a setup (the Cameroonian musical scene) jam-packed with noisy illiterates the likes of Petit Pays, many of who, with their "tintamarre", have stripped Cameroon music of any pretensions to decency it might have once had. Their posturing and flaunting of self every time they come into view show you that they do not know that they do not know - proverbially the worst form of ignorance, we are told. God save Cameroon.
VANTA
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The issue at stake is that there are too many cliques in this whole issue of who is in and who is out. And the jilted lover-boy Romeo Dika who smarted and continues to smart about many things: that Sam Mbende soundly thrashed him in elections for SOCAM President and again today seems the best bet to resolve the disgraceful-controversial Ndedi Eyango saga, that his dream wife was snatched from him by "un laid blanc" (you surely remember his piece Le mari de ma femme, n'est pas beau mais elle l'aime quand meme").
Such a bitter soul with lots of hurt instead of nursing and licking his wounds silently so they can heal resolves on a logic of always bashing his more successful peers. And Sam Mbende logically becomes target for Dika's swipe - this man who always appears to have all the answers, who is slick (I mean effortless), articulate and knowledgeable in matters of authors' rights and the law, a veritable legal egghead when you listen to him set loose his tongue, and whose re-appearance again today snuffs out the infinitesimal possibility of the multiply thrashed Dika finally having the chance to preside over the corporation with a lot of "nkap".
The likes of Romeo Dika are society's "nattering nabobs of negativism" (courtesy Agnew Spiro), whose bitterness at not always qualifying to be in the limelight pushes them to always wear dark glasses. Such pessimists can never accept that another person, especially a peer and a fellow competitor, can and should continue to outshine them. After all what do you expect of a setup (the Cameroonian musical scene) jam-packed with noisy illiterates the likes of Petit Pays, many of who, with their "tintamarre", have stripped Cameroon music of any pretensions to decency it might have once had. Their posturing and flaunting of self every time they come into view show you that they do not know that they do not know - proverbially the worst form of ignorance, we are told. God save Cameroon.
VANTA
On Saturday, February 1, 2014 1:55 AM, Mishe Fon <mishefon@yahoo.com> wrote:
There is something very intriguing and difficult to comprehend about the Cameroon Musical Industry. From the creation of SOCINADA to the eventual apparition of structures like SACEM, CMC (Cameroon Music Corporation) and to the now once again disbanded SOCAM...SOMETHING AIEN'T RIGHT With our Culture, Music and Arts Creators.
Using the Ndedi Eyango saga as a case study, I tried to meander into the complicated labyrinth that is the Cameroon Musical Industry. It is the most dangerous "Piece of Investigation" any non professional can attempt in looking for a lasting solution to their unending nauseating feuds.
Sam Mbende was the PCA of CMC(disbanded by the Ministry of Culture), the predecessor of SOCAM that saw heavy weights like Manu Dibango and a certain Ms Ngaska at its helm. Enter Prince Eyango and the Dual Nationality imbroglio...and the subsequent stalemate.
I have had the opportunity (via my acquaintance and membership of ACCDF) in discussing this "Droits d,Auteurs" FIASCO with prominent Ministry of Culture officials and Heavy Weight Cameroon Musicians like Elvis Kemayo, Ben Decca, Grace Decca, Adele Rufine Ngono AKA Lady Ponce whom I have had the privilege of sharing a "Booze" (only...and nothing else) with. Don't go start suspecting that I tried to do "Bad Ting" with the ladies. Na Lie. The truth is...It is a very complex problem (I am talking of Droits d,Auteurs here not the Mammie Musicians). So you know, Cameroon female Musicians are very promiscuous. I no dey pick their height...or judging from my very "Religious SHESA Upbringing"...DEM NO DEY PICK MY HEIGHT except my "Boss Empty Pocket". Some Man Na Ngrung Beep?
Cameroonians and President BIYA are in very serious TROUBLE 4 all sides.
Take one minute to listen to this Romeo Dika guy who declares that his Musician Douala Colleague and PCA of CMC, Sam Mbende (a well refined and educated guy) is a "Belgian Terrorist"...because of "Droits d.Auteurs". He claims "Nous les Artistes, nous sommes tous du RDPC et nous supportons son excellence Monsieur le President Paul Biya etc etc."
If you have one minute, watch this short You-tube video and draw your own conclusions.
Mishe Fon
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