IS  IT TRUE THAT LAURYN HILL IS COMING BACK?

Lauryn Hill is scheduled to perform at the Raggamuffin Festival held in Rotorua, New Zealand next month. It’ll be her first show since canceling a string of scheduled performances this past summer. The show’s other high profile headliner is former Fugees bandmate Wyclef Jean. It’s always a thrill to hear Ms. Hill is back on stage, but the days of hoping for a Fugees reunion are over, don’t you think?

We are badasses.

This morning I woke up semi-groggy from the aftermath of Brittania karaoke and a hugely successful improv show, vaguely remembering that yes, today was the day I was supposed to meet Wyclef. Still skeptical and shocked that the whole thing was possible and reeling from a day full of friendly jokes about the situation, I shot out of bed and stumbled to the shower unsure of what to expect. One of my comrades cleverly suggested that I was about to be punk’d, that the whole thing was a scam set up by Ashton Kutcher’s twitter account. I brushed those thoughts aside, threw on my best Mr. Sparkle t-shirt and headed toward Sunset. I remembered that Jay, Wyclef’s assistant, had told me the place was right near the House of Blues. (At this time I am willing to divulge that the secret location of our meeting was in fact the perfect place for Wyclef’s new worldwide social movement: the international house of pancakes!) I dropped my car off at the meter and strolled by the Comedy Store to ask a guy where the iHop was. He pointed down the long hill south on Olive Street. It seemed wrong, but the guy worked at the Store so he had to know the area fairly well. Time was running short, and Wyclef had just sent a message to his followers saying “don’t be late!” I headed down the hill and after asking a supermodel-ish brunette for further directions, I found myself on Santa Monica right near Barney’s Beanery. There stood the glorious iHop, and I headed inside.

The place looked deserted. Aside from a few dining families, there was no sign of an international hip-hop sensation. I asked the hostess if there was another iHop in the area. She said that there was, but that it was on Sunset and Orange. Something triggered in my memory, and I recalled that Jay had mentioned Orange Avenue. “Is it in walking distance?” I asked. “No. Not that place,” she replied.

Like a bolt of lightning I shot back up the hill on Olive Avenue, sweating and panting like Chris Farley on a treadmill. Through asthmatic puffs of breath and beads of sweat dripping down my glasses I managed to jog uphill while Google mapping the intersection on my phone. Most disappointingly, the real iHop was even closer to my home than the one I’d just visited. Sweltering from the heat and my own physical inadequacies I surmounted Olive Avenue, jetted back down Sunset, popped in my car and cranked the A/C. Last night’s late night drinking hadn’t helped my hydration any, and I was definitely feeling it now. I called Jay to let him know I’d be a few minutes late (the clock had just hit 10:00 AM on the dime). Jay seemed laid-back and let me know he’d pass the message along to Wyclef. I felt a little more at ease.

When I rolled into iHop (the one across from In ‘N Out near Sunset & LaBrea, NOT the closest one to the House of Blues, although I can see how an out-of-towner could easily make that mistake) I was a sweaty mess. My Simpsons shirt was clinging to my body like a baby marmoset, and I was dripping beads like a slutty girl at Mardi Gras. I walked inside and saw a long table of about twelve people. There at the center, like a hip-hop messiah at his own last supper, sat the man himself, Wyclef Jean. He was looking slick in a white button down shirt with close-cropped hair and I looked like I’d just been on the Rotor at Geauga Lake. I sidled up to the table and strangely enough, Wyclef recognized me from my twitter picture. I reintroduced myself and shook his hand. They added some extra spots at the table and I sat down next to some adorable little girls, maybe six and eight years of age. Wyclef came over briefly to inquire about my background. I gave him a little run-down of my travels from the past four years and told him that I was sorry I was late but I had to run uphill to get here. He was calm cool and collected, as you might expect, and seemed to have little need for apologies or formality. The more time I spent in his company the more I realized he was a man who respects honesty and generosity of character, that no amount of schmoozing could ever win this guy over.

After downing five glasses of water and meeting a few more people, the lady in charge of Wyclef’s new website started broadcasting a live streaming video of our breakfast. I briefly got to do a shout-out to the web where I pimped my blog and stated my appreciation for Wyclef’s approach to Twitter and social media. I wasn’t sure if we were broadcasting live at that point, or if I was being recorded for a future video montage, so I apologize if I seemed unprepared, awkward or incredibly sweaty. According to most people, I am less sweaty in person, I promise.

Wyclef bought us all breakfast and I got to chat with a guy named Grafiki about his idea for a new webisode series. It sounded pretty cool so we exchanged contact information and promised to keep in touch. Noticing Grafiki had left his seat across from Wyclef to talk to me and had now sidled over to a nearby table featuring two very attractive ladies, I took the opportunity to pop closer to Clef and ask him a few questions.

Me: So what’s the next step for this online community?

Wyclef explained that gathering more support, followers (or Warriors, as we like to be called) and creating a real community is the next step. Wyclef envisions a world where artists and fans can interact directly without big business getting involved. While labels and traditional marketing companies have been helpful throughout Clef’s career, there have been times when they have failed to promote certain events correctly or have misread his intentions. Clef dreams of cutting out the middle man and connecting to people directly, so that the true fans can share their messages and stories with the world and also experience the music firsthand. He wants to create more autonomous flash-mob style events rather than big corporate stadium shows.

Me: How do you feel about file-sharing? Has it affected you directly?

Wyclef replied, “With the economy the way it is, you can’t expect people to buy something without giving something away for free.” Yesterday Jay sent me some of Wyclef’s newest tracks. Not only were they incredible, it was a great taste of the things to come on his latest album and they definitely made me hungry for more. Wyclef believes that if you let the people sample the music, they’re more likely to buy the album when it drops.

Me: I think people really respond to your honesty on Twitter. I follow a lot of celebrities, but most of them just crack jokes and you don’t feel like you ever get to know them as human beings. That’s not the case with you.

Wyclef thanked me and said that for him “Twitter is a lot like a psychiatrist…sometimes you’re feeling sad and you don’t want anyone around you to know that you’re sad, so you just- [pantomimes typing on phone]“. We laughed and it was clear that many people at the table could relate. It was interesting that he thought of Twitter as a cathartic release, a form of expression. I didn’t get to follow up on this point, but I would have assumed that his music was his primary form of catharsis. Perhaps the nature of the music industry, big business and traditional marketing had changed the nature of music in his eyes, that what was once performative and expressive had become a full-time job. Twitter and Clef Zone seem to be Wyclef’s method for combatting that stagnancy and despondency that often follows the stress of work. Now he can connect with fans all the time, whether or not his album is getting press.

I asked a few more questions, but the answers were mostly covered by Wyclef’s toast at the end of the meal. He thanked everyone for coming and for their support (especially the wonderful woman who constructed his new website and ran the webcast) and then reiterated that anything is possible with this sort of grassroots movement. He used to ride a donkey in Haiti and now he lives in a McMansion in the states. Anything is possible, but it all starts from communities like the one sitting around him at the table and the gathering masses online. He envisions outdoor shows in parks and creating new content for the streaming video on his website so that it runs twenty-four/seven like a real television channel. Clef suggested that everyone records everything, films whatever they see and shares it with the world (a sentiment echoed by my newfound friends at Found Magazine).

We took a few photos and said our goodbyes. As we were parting I asked the question I’d been dying to ask since I’d started chatting with the man: When are we going to see another Fugees reunion? Clef cracked a slight smile and said that I should look for it sometime next year. Yes. God Yes. I’ll be blaring Fu-Gee-La all day, every day until it happens! Thanks, Clef!

If you haven’t already signed up for Clef Zone, started following @wyclef (or me: @shorester) on Twitter, I suggest you do so now. If this isn’t a story about the magic and wonder of Twitter, I don’t know what is.

My first introduction to this song was through its pounding bass line. It’s not a bass line you automatically think of as pounding, but during my senior year in college, when my neighbor played it at top volume over and over and over … and over again, that’s what filled my space and my head. Boomp. Ba boomp booooom boomp. Ba boomp booooom boomp.

I was intrigued and annoyed at the same time. Obviously I wanted to be able to control my own sound environment. But I also really liked the base line. Eventually I heard the song it accompanied, whether through the wall or through her open door I don’t recall. And oh, a love was born.

“Killing Me Softly” ranks right up there on my all-time best lists: Best Remakes. Best Belt Out in the Car Songs (right behind “Greatest Love of All” and “We Are the Champions”). Best Hear Through a Wall Songs. Just Best, Best, Best. I cranked it this morning and sang along with all of Lauryn Hill’s ohs and ahs and ah-ah-ah-ah-ahs.

From everything I’ve read, Lauryn seems to be a bit of a nut. Like, to the point where her nearest and dearest Fugees and others worry about her. But man, the woman could sing.

Wyclef Jean and Lauryn Hill will appear on the same stage for separate performances during the Raggamuffin Music Festival, which will take place in Rotorua, New Zealand.

Wyclef Jean and Lauryn Hill will be co-headliners of the festival, which takes place at Rotorua International Stadium and also features headliners Shaggy, Julian Marley, Sly & Robbie, Sean Kingston and others.

The pair’s performance together comes amidst new reports that Wyclef Jean was hoping for a Fugee’s reunion.

“Some how, The Fugees is the soundtrack to everyone’s house,” Wyclef told DJBooth.net. “What I’m hoping is that this group really gets inspired by the new movement that I’m on right now.

“I’m hoping they’ll get inspired and be like, ‘Yo, let’s find Clef and let’s get this thing cracking.’ And it would be an honor to go in and make it a super album,” Clef said of reuniting with Hill and group member Pras Michele.

The announcement of Wyclef Jean and Lauryn Hill’s involvement in the Raggamuffin Festival is the singer’s first major outing since canceling a string of high profile dates in June of 2009.

Hill had been scheduled to headline the Stockholm Jazz Festival and the Montreux Jazz Festival in Switzerland.

Wyclef filled in for Hill on a number of the cancelled dates, which she canceled due to health reasons.

As members of The Fugees, Wyclef, Lauryn Hill and Pras Michele released two albums including 1996’s The Score, which has sold over 20 million copies worldwide.

Wyclef Jean and Lauryn Hill will perform during the Raggamuffin Music Festival in Rotorua, New Zealand on January 23rd, 2010.

Cronología esencial de la conocida como Golden Era del rap, tan añorada en estos two thousand and…

1990

• 2 pac participa como bailarín para Digital Underground.

• Se estrena en la emisora de radio WKCR de New York el “Strecht & Bobbito show”, programa dedicado a la música hip hop donde se hacían sonar demo-tapes (cintas de demostración) y freestyles (improvisaciones) en directo de rappers noveles que por aquel entonces no contaban con sello discográfico como Big L, Notorious B.I.G., Wu Tang Clan, Fugees o Fat Joe, todos ellos artistas reconocidos en la posteridad.

• Luther Campbell (2 Live Crew) y un propietario de una tienda de discos de Florida son arrestados por el polémico álbum de 2 Live Crew, “As Nasty as They Wanna Be” (Tan asquerosos como ellos quieran ser).

1991

• El álbum de N.W.A. “Niggaz 4 Life” vende alrededor de 954.000 copias en su primera semana, un trabajo que marcaría la ruta de muchos álbumes de rap hardcore en la posteridad.

• Cypress Hill lanza su primer disco e inician una campaña para legalizar el cáñamo.

• Notorious B.I.G. aparece en la sección “Unsigned hypes” (una sección de promoción para jóvenes sin sello descográfico) de la revista Source.

• Busta Rhymes aparece en el clásico de A Tribe Called Quest, “Scenario”.

1992

• Dr. Dre lanza “The Chronic”.

• Los Rock Steady DJ’s (DJ Qbert, DJ Apollo y Mix Master Mike) ganan el título mundial de la DMC (Disco Mix Club).

1993

• “The Chronic” alcanza el disco multiplatino.

• Wu Tang Clan lanza su álbum debut “Enter the Wu Tang (36 Chambers)” que se convertiría en disco de platino.

• Cypress Hill presenta su segundo disco, “Black Sunday”.

• Mobb Deep saca su disco début “Juvenile Hell”.

• DJ Qbert y Mix Master Mike (The Dream Team) ganan de nuevo el título mundial de la DMC, esta vez sin DJ Apollo.

• A Tribe Called Quest firma su tercer disco con “Midnight Marauders” con un Quién es Quién de la escena de por aquel entonces plasmado en la portada del LP.

1994

• La primera referencia de Nas, “Illmatic” , es calificada como uno de los mejores álbumes de Hip-Hop de la historia.

• Common presenta “Resurrection” y es aclamado como uno de los mejores liricistas de todos los tiempos.

• Warren G, hermanastro de Dr. Dre, consigue vender 4 millones de copias de su disco début “Regulate: The G Funk Era”.

• Tupac es asaltado y recibe cinco disparos en el vestíbulo de Quad Recording Studios en Manhattan, New York. Después de su recuperación acusaría a Puff Daddy, Notorious B.I.G. y Andre Harrell (mitad del dúo Dr. Jeckyll & Mr. Hyde) del ataque que sufrió.

• Notorious B.I.G. debuta con su LP “Ready to die” que se convertiría en disco multiplatino.

1995

• Queen Latifah gana un Grammy en la categoría “Best rap solo performance” por el tema “Unity”.

• Tupac firma por Death Row Records después de que Suge Knight pagase una fianza por él de 1,4 millones de dólares para sacarlo de la cárcel por una condena por supuestos abusos sexuales, Tupac siempre se declaró inocente.

• Eazy E muere de sida a los 31 años.

• Notorious B.I.G., apodado ya por aquel entonces por algunos como “King of New York”, es nombrado “Lyricist of the year” por la revista Source. Su single “One More Chance” fue directo al top de las listas.

1996

• “The Score”, una mezcla de letras conscientes y comprometidas con pinceladas de reggae, se convierte en el disco mas exitoso de The Fuggees. Debuta en el número uno y gana dos Grammys, aportando un respiro de aire distinto a la escena del Hip Hop.

• Los premios MOBO (Music Of Black Origin) celebrados en Reino Unido otorgan a The Fugees dos trofeos.

• Snoop Dogg y su guardaespaldas McKinley Lee son acusados de asesinar a Philip Woldemariam, un inmigrante etíope de 20 años de edad, tiroteado en agosto de 1993.

• Jay-Z lanza su después alabado debut, “Reasonable Doubt” (Duda razonable).

• Bone Thugs N Harmony en un tiempo récord pone en lo más alto su hit “Tha Crossroads”.

• El 7 de septiembre Tupac es tiroteado en Las Vegas después de asistir a una pelea de Mike Tyson. El día 13 de septiembre fallece a las 4:03 a.m.

1997

• Notorious B.I.G. es asesinado a golpe de bala el 9 de marzo en Los Ángeles a la salida de una fiesta que daba la revista Vibe en el Peterson Automotive Museum después de la gala de los premios Soul Train.

• Missy Elliott (Melissa Arnette Elliott) redefine el panorama con su primer álbum “Supa Dupa Fly”. Posteriormente se convertiría en líder de ventas como artista de rap femenino.

• Roc-A-Fella (disquera de Jay-Z) vende la mitad de sus acciones a Island Def Jam por millón y medio de dólares.

• Juice, MC de Chicago derrota a Eminem en la Scribble Jam, el mayor escaparate de Hip Hop underground en los Estados Unidos por aquel entonces.

• Interescope Records vende sus intereses en Death Row (disquera de Suge Knight, que contaba con Snoop Dog o Tupac entre otros).

1998

• Dr. Dre ficha a Eminem para su sello Aftermath después de escuchar un freestyle de este último en una emisora de radio de Los Ángeles.
• El debut en solitario de Lauryn Hill “The Miseducation of Lauryn Hill” es nominado diez veces a los premios Grammy y gana cinco de ellos incluidos Álbum del año y Mejor nuevo artista.

• Shyne (Jamal Barrow) firma un contrato discográfico con Bad Boy Entertainment, discográfica de P. Diddy.

1999

• Respaldado por Dr. Dre, Eminem vende 4 millones de copias de su debut, “The Slim Shady LP”.

• The Neptunes (Chad Hugo y Pharrell Williams) controlan las ondas con varios hits para la radio como “Got Your Money” de Ol’ Dirty Bastard o “Oh No” de Noreaga.

• Big L (Lamont Coleman) es asesinado el 15 de febrero cerca de su casa, en Harlem, New York.

• Dr Dre pone en el candelero de nuevo a la costa oeste estadounidense con su LP “2001”.

So I know we decided to call this a celebration and despite The Annie Lennox Collection, riding high in the charts, we should also be feeling sorry for hits albums because apparently it’s a dying formula. The advent of mp3 downloads making back catalogues available song-by-song has led to a veritable pick n’ mix attitude to slowly take over and before long, hits records will be banished to musical no-man’s land along with the Zavvi in Piccadilly Circus, CD singles and audiophiles.

But my up-until-recent vendetta against these best-ofs hasn’t been without reason. For one, I consider myself a mild completist; the long-standing arch nemeses of the hits album that’s already wallowing in no-man’s land. So when you already own everything the artists of your affection have released, a cheeky compilation album with one new track is just a nuisance. The whiz kid marketing strategist who started that behaviour is on my hit-list.

Then there are those too quick to release their greatest hits, like throw-away reality stars who ‘write’ autobiographies when they’re not even past their quarter-life crisis.

There are so many factors to a bad greatest hits albums that I thought I would compile a list [did I mention my penchant for lists?] of the worst offenders: the infuriating, the unnecessary and the unworthy can all be found below.

D’Angelo: The Best So Far

“Hey guys, D here. James River will be out soon, I promise. But in the meantime buy this compilation of the measly two albums I’ve managed to release within the last 16 years…oh and I threw in a few random songs so you wouldn’t get too mad at me for this bullshit.”

Call it what you like D, this ‘best so far’ is dick-teasing crap. If I have to record your third album myself…

ABBA: Gold

Yes, ABBA are entitled to a hits compilation considering the ridiculous amount of popular tunes they have. But when there are so many ABBA collections, albeit under different guises, that you could build a small city out of them then I object. Imagining that city gives me the shivers. It would be like a never-ending hen party in polyester flares.

The Boomtown Rats: The Best Of

Who are these dudes kidding? I’m pretty sure they only released one song; six albums must be a figment of Geldof’s imagination. So apparently ‘Rat Trap’ also went to number one but even if it did, there is no excuse for the amount of Boomtown Rats’ hit compilations that this Best Of is just one example of.

Spin Doctors: The Best Of

If you’re consistently showing up on one hit wonder collections, you’re probably not entitled to a Best Of.  And it’s not even like the Spin Doctors were this really great band that we should’ve discovered more of. ‘She Used to Be Mine’ or ‘Cleopatra’s Cat’ aren’t bad but they’re not ‘Two Princes’, so we’re inclined not to care.

Fugees: Greatest Hits

If this album is in your collection, you are not only lazy but also the biggest false economist on the block. The Fugees only released two albums, and a quick gander on Amazon has informed me that you can buy both of them for less than this farcical compilation. This is one of the sickest hip hop outfits from the 90s, go the extra mile.

Shakespear’s Sister: The Best Of

Three albums, only one that produced anything hit-worthy and yet they still feel the need to compile. Maybe life is too precious to waste it figuring out what could be considered Shakespear’s best, or not?. We could’ve donated the time to worthy causes like ending world poverty or curing cancer. Because if anyone is still hampering to hear ‘Stay’ they can buy Hormonally Yours and then regret it afterwards.

New Kids on the Block: Greatest Hits

For the cover alone, this album gets full marks: the music notation cardigan, the pseudo-quiffs and stonewashed jeans; just brilliant. But re-re-re-releases are like that boy who cried wolf; one day we just won’t listen anymore.

Creed: Greatest Hits

Let’s just be bold: Creed are pretty awful. The affectations of Scott Stapp’s singing voice and the sameness of all their music make for pretty dire listening. And there’s only a handful of bands that can get away with the amount of sickly, power guitar solos that Creed sneak in at every opportunity. Didn’t Poison even copyright that shit?

Vanilla Ice: The Best Of

The theme seems to be that if you know you’re not worthy of having a greatest hits album you call it a Best Of. Don’t be fooled by this, I know it makes you feel like you’re missing out on some of Vanilla’s bests, like really he was a genius with hidden hip hop classics. But, trust me, you’re not.

Blue: Best Of

Their biggest hit is a bad cover of another song and their three albums were all released over three consecutive years, so we’re pretty sure they were not in it for the art. But so as to not scapegoat Blue when so many countless pop acts are guilty of this quick release crime, here are a few other offenders: Jason Donovan, Hilary Duff, Five and Atomic Kitten.

[Originally published in PUB.lication: The Greatest Hits Issue]

Hva har Ole Paus, Dagblad-journalist Terje Mosnes, hiphopgruppa Fugees, Inger Lise Rypdal og Arne Bendiksen til felles? 1996s store slager, «Killing Me Softly», er et hett stikkord her. Jakten på den norske versjonen av sommerens store slager førte meg ut på en reise i norsk popmusikk.

Mandag var jeg vikar på popquizlaget Dads på Horgan’s, og sannelig stakk vi ikke av med seieren med et knepent halvt poeng. Premieren var en runde øl, samt Fugees’ monsterslager “Killing Me Softly” på cd-singel. Det minnet meg på min jakt etter de norske oversettelsene av låta i VG sommeren 1996. En jakt som førte meg fra Kjetil Rolness og Arne Bendiksen til Inger Lise Rypdal og Ole Paus.

____________________

Hiphopgruppa Fugees er blitt allemannseie på diskoteker fra Beitostølen til Kuala Lumpur. Noe har skjedd, og «Killing Me Softly» har skylden. Ung spirrevipp som jeg er, hadde jeg ikke hørt «Killing Me Softly» før Fugees dukket opp med sin versjon. Men jeg forsto det slik at dette var en ny versjon av en gammel «schlager» med Roberta Flack som vokalist. Originalversjonen ble spilt inn av Lori Lieberman i 1971, mens Flack fikk en hit med sin versjon i 1973. Men ryktene begynte å gå om en norsk versjon . .

Spor 1: Cola og pizza…
På sommerens Quart-festival spilte gruppa Penthouse Playboys, som har gjort suksess med ironiske versjoner av norske slagere. En bekjent av meg begynte da å snakke om en låt han hadde hørt i sine unge dager. «Cola, softis og pizza» gikk refrenget, og melodien var pur «killingmesoftly». Hvem som sang, hadde han ingen anelse om, men mente det var en genial versjon. Min jakt var i gang

Spor 2: Ironisk popmusiker
Hvis noen kunne kjenne til denne norske versjonen på Quartfestivalen, måtte det være Kjetil Rolness, vokalist i Penthouse Playboys og tilhenger av gammel og avdanket norsk popmusikk. Vi klarte å spore ham opp (i pissoaret faktisk), men dessverre kjente han ikke til denne norske popperlen. Han ble riktignok svært interessert, så jeg lovet å fortsette jakten . . (2009-kommentar: Ikke lenge etter denne saken dukket Penthouse Playboys opp med sin versjon av “Sangen han sang var min egen”).

Spor 3: Arne Bendiksen
Norsk popmusikk personlig er Arne Bendiksen, han måtte kjenne til innspillingen vi var på jakt etter.

– Cola, softis og pizza? sier Arne Bendiksen noe forundret.

Han kan ikke huske noen slik versjon av sangen, men har selv vært med på å spille inn ikke mindre enn fire versjoner av Roberta Flacks udødelige låt.

– Jorun Høiland spilte inn sangen på svensk allerede i 1973, og Kari Neegaard (nå: Kari Diesen) oversatte teksten til norsk kort etter. Jeg var med på å spille inn «Sangen han sang var min egen» først med Bendik Singers, så med Ellen Nikolaysen og deretter Inger Lise Rypdal.

– Låta er rett og slett kjempebra, mener Arne Bendiksen

Spor 4: Tekstoversetter nr. 1

Ny telefon, til Kari Diesen.

– Cola, softis og pizza? undrer Kari Diesen.

– Det har jeg aldri hørt om. Lauryn Hill i Fugees synger fint, men Roberta Flacks versjon går rett inn. Jeg tok oversettelsen på alvor, jeg prøvde å beholde den spesielle stemningen. Jeg husker at Ellen Nikolaysen sang inn min versjon.

Spor 5: Kurt Bakkemoen
Mine eldre VG-kolleger kjenner til «Killing Me Softly» fra før Fugees dukket opp. Av kollega Kurt Bakkemoen fikk jeg en samleplate: Fine norske låter 1. Her finnes «Sangen han sang var min egen», spilt inn i 1973, sunget av Ellen Nikolaysen og med tekst av Terje Mosnes?!? Mysteriet tetner til

Spor 6: Tekstoversetter nr. 2
– Hva er dette for noe, Mosnes, kulturjournalist i Dagbladet?

– Det var et rent oppdrag, men jeg husker det var en flott vise med en flott tekst, forteller Mosnes.

Selv husker han ikke at han har oversatt teksten før jeg minner ham om det.

– Men hvem skrev du teksten for? Kari Diesen hevder at hun skrev for Ellen Nikolaysen.

– Jeg husker ikke hvem jeg skrev for, men det kan jo kanskje ha vært Inger Lise Rypdal

Spor 7: Inger Lise Rypdal
– Det var en helt topp sang, husker Inger Lise Rypdal.

Hun husker heller ikke hvem som skrev den norske teksten, men mener sangen kom ut på hennes plate Kontakt.

– Før var det mye mer vanlig å skrive norske tekster til utenlandske låter. Det var vanskelig å finne fine nok norske sanger

– Cola, softis og pizza?

– Nei, det sang jeg ikke

Spor 8: NRKs musikkguruer
Grammofonarkivet i NRK hjelper en stakkars journalist å komme nærmere mysteriets løsning

– Cola, softis og pizza?

– Ja, det stemmer. Anne-Karine Strøm sang inn sangen «Siv & Vivi» rundt 1980, hvor hennes daværende mann Ole Paus hadde skrevet teksten. Refrenget gikk «cola, softis og pizza», får vi opplyst fra NRK

BINGO! Paus neste.

Spor 9: Ole Paus
– Hva?! sier han.

Etter hvert går det et lys opp for Paus, men han kan hverken huske teksten eller innspillingen.

– Jeg laget den vel tidlig på 1980-tallet, men jeg har ingen anelse om hvor den kan fås tak i. Jeg har ikke noe spesielt forhold til originalsangen heller, men jeg husker at Roberta Flack sang fryktelig surt. Det er i og for seg en grei sang.

Men hvis noen av våre lesere kjenner til en innspilt versjon av Ole Paus’ «Cola, softis og pizza», så nøl ikke med å ta kontakt.

Oppfølgersak: Mysteriet oppklart
VG leter etter forhistorien til sommerens store slager, «Killing Me Softly». Ole Paus’versjon av årets store slager «Killing Me Softly» har nå kommet til rette, etter god innsats fra VGs lesere.

En frisk telefonstorm førte til at vi kom til bunns i mysteriet om de norske versjonene av 1973s og 1996s store sommerslager, «Killing Me Softly», med henholdsvis Roberta Flack og Fugees bak mikrofonene.

John Dagfinn Bæverfjord fra Nordmøre var en av de mange som ringte VG og fortalte hvilken plate Paus’ versjon fantes på. Platen heter Jeg tror folk er blitt spenna gærne, er fra 1980, og er et samarbeid mellom Ole Paus, Anne-Karine Strøm, Rolv Wesenlund og Harald Heide-Steen jr. Som sang nummer ni finner vi «Siv og Vivi» med refrenget «cola, softis og pizza».

Overraskelsen blir stor når det viser seg at versene går i ren discotakt, mens refrenget er i samme melodi som sangen vi alle etter hvert kjenner. Paus norske oversettelse forteller den grumme historien om discobertene Siv og Vivi, som liker å sjekke opp kjekkaser med fine biler på byens diskoteker. Den henrivende unge damen Siv går hen og blir gravid. Og det hele ender tragisk med at doktor Werner ikke finner et barn i Sivs mage, men bare cola, softis og pizza.

Fra våre oppvakte lesere får vi også opplyst at danske Shu-bi-dua på 1970-tallet gjorde stor suksess med sin «Kylling med softice». Refrenget gikk som følger: «Kylling med softice og pølser / Det er min favorite meny». Så klart med melodien til «Killing Me Softly»

Bonus 1: Nostalgi og heftige rytmer
Melodien vekker nostalgi hos lytteren, mens rytmene oppdaterer melodien for 1990-tallet. Det er hemmeligheten bak Fugees’ suksess.

– Sangen klarer å appellere til flere generasjoner samtidig. For ungdommen er det rytmen som er viktigst, og jeg tror ikke originalversjonen hadde slått an i dag, sier Stan Hawkins.

Han er førsteamanuensis i musikkvitenskap på Universitetet i Oslo, og populærmusikk er hans spesialområde.

«Killing Me Softly» er blitt så suksessfull fordi den klarer å kombinere dagens rytmer og produksjonsteknologi med en gammel melodi som vekker nostalgiske følelser hos lytteren, mener Hawkins

Bonus 2: Tekstene

”Sangen han sang var min egen”
(C. Fox / N. Gimbel /T. Mosnes)

Han var en ukjent sanger
Han bare kom en kveld
Og som så mange ganger
Var jeg for meg selv
Jeg ville gjerne glemme
Men da han sang forsto jeg…

(Refreng)
Sangen han sang var min egen
Teksten var tatt fra mitt liv
Sangen han sang var min egen
Alle detaljer i mitt liv
Ga han til alle
Og mitt liv

Alt som har hendt meg i mitt liv
Det var som om han visste
Som om han kjente meg
Han sang om alt det triste
Som skilte meg fra deg
Jeg hvisket: «La meg være»
«Og la meg gå jeg ber deg»

(Refreng)

En sang om ord som sårer
Om løfter som jeg fikk
Og gjennom mine tårer
Fanget jeg hans blikk
Jeg ville snakke med ham
Men han så bort og smilte

(Refreng)

”Siv og Vivi”
(C. Fox / N. Gimbel / O. Paus)

Jeg er Vivi, jeg er Siv
Diskotek er hele vårt liv
Vi jobber i butikken
En times tid om formiddagen
Uuuuuuu
Når dagen er slutt
Er vi fri igjen
Kvelden er åpen
Hva med den?
Ut på diskotek
Der treffer vi menn
Av det rette slaget
Når vi så treffer en kar
Sjekker vi først hva slags bil han har
Hvis den er OK, er saken klar
Det klør i magen . .

Oh baby . . .

Etter . .

(Refreng)
Cola og softis og pizza
Cola og softis og pizza
Cola og softis og pizza
Cola og softis og pizza
Cola og softis og pizza
Cola og softis
Og pizza

I fjor høst på denne tiden
Var det Siv ble kvalm
Og fikk vondt i siden
Doktoren sa at hun var gravid
Han het dr. Werner
Uuuuuuu
Da flyttet Siv og Vivi i hop
Og Siv og Vivi delte bo
Og Siv og Vivi visste begge to
Godt hvem faren er
Så kom fødselen, på med fjøra
Ned på klinikken og opp med døra
Da ble dr. Werner heit om øra
Det va’kke noe barn der

Oh baby . .

Det var bare . . .

Cola og softis og pizza
Cola og softis og pizza
Osv.

VERDICT:
8/10 Boss Emcees

One of those magical little movies that’ll a big ol’ smile on your face from beginning to end. Man, what the hell happened to Dave Chappelle?

Dave Chappelle’s Block Party is a documentary that follows Dave Chappelle – back when he was living it up as the funniest man on Earth –  as he puts together an utterly epic block party in Brooklyn, NY featuring some of the biggest names in the history of R&B and Hip-Hop. And being that Dave Chappelle is the man, he makes it into a free show, buses droves of people from his hometown in Ohio to go to the show, and makes everyone laugh their asses off.

What a guy.

Now, I happen to like a lot of the acts that Dave lined up for this show, especially since he somehow managed to get The Fugees back together for it (if you’ve never listened to The Score, you don’t know what you’re missing, brotha). So being that I like to laugh hard and since I’m always down for some choice R&B and Hip-Hop, this was a win-win for me, but I can understand how a number of folks out there might not see the attraction to this little comedy/rap concoction. For those of you who fall into this category, listen close, I have a story to tell thee.

I kinda had to rope my friends into seeing this one when it was out in theaters because they could really have given a shit about every aspect about this movie that didn’t have to do with Dave Chappelle. But by the time they came out, even though they still didn’t really care much for the musical aspect of it, they were soundly entertained across the board.

Part of this is because of Dave. The humor here is kinda different from Chappelle’s Show in that it’s not really trying to be edgy or push the envelope, it’s just capturing Dave as this normal, genuine, and totally hilarious guy that’s just trying to throw this sweet party for everyone to enjoy. The only bits that are scripted are a couple acts he does onstage with Mos Def and The Roots, but his best stuff is just when he’s being himself. It’s a damn shame that he’s been written off as this mental case over the years, because the impression you get from him here is that he’s of the rare humble, and grounded breed of celebrity that’s doing his best not to let fame get to his head. There’s a lot of celebrities out there who could learn a thing or two from Dave. That guy’s A-okay in my book.

But the other part of this is actually because of Michel Gondry. From a visual standpoint, you’d never know Gondry was behind this as it pretty much boils down to him with a camera and that’s it, but it’s something about the overall positive vibes this movie puts out that feels very much his own. Gondry makes movies about people, movies that bring people together, and that’s the beauty of Block Party. More so than the acts on stage, Gondry makes the people going to the show the main characters, showcasing this melting pot of cultures and happiness that all came together for this one kickass occasion.

It’s an unlikely one, but Chappelle and Gondry are a great team whose visions really complement each other. Good times all around with these guys.

Dave Chappelle’s Block Party is just a damn good time. Not only is it funny as hell, but it’s surprisingly insightful, has a huge heart, and the concert itself is totally awesome, too. So give it a shot, even if you could care less about a Fugees reunion, everyone needs a good reminder every now and again of the genius that is Dave Chappelle.

We miss you, man. Come back to us.

Aquí os dejo otra de mis canciones favoritas, es muy conocida y podría considerarse como un clásico y aunque es antigüa, para mi sigue siendo una de las mejores!

As “Sesame Street” celebrates its 40^th anniversary this week, The Daily Record examines five of the show’s greatest musical moments.

Johnny Cash – “Nasty Dan”

Twenty years after “Cry Cry Cry” appeared in jukeboxes, Johnny Cash was singing with Oscar the Grouch on Sesame Street. “Nasty Dan” appears on the classic 1975 record “The Johnny Cash Children’s Album,” but Oscar is the perfect foil for the number. Cash enjoyed his fifth season spin on the Street so much, he returned to Jim Henson’s world of Muppets. In 1980, Cash hosted an episode of The Muppet Show. Cash was also the inspiration behind the 1990s Sesame Street character Ronnie Trash, who sang about the environment in Cash’s classic boom-chicka style.

The Fugees – “Just Happy To Be Me”

The Fugees immortal sophomore album “The Score” was one of the best-selling albums of the 1990s, but it wasn’t exactly kid-friendly material. Somehow, though, the divisive Elmo took a shine to the group and invited the trio to appear in his 1998 TV special. Although “Ready or Not” could have been adapted to a song about playing hide-and-seek, the Lauryn Hill, Pras Michel and Wyclef Jean opted to cover a newer song in the Sesame Street canon, “Just Happy To Be Me.” Jean has returned to the Street several times since, but Hill and Michel are perpetually M.I.A. This once prompted Snuffleupagus to hollar “Where Fugees at?”

Stevie Wonder – “1,2,3 Sesame Street”

Stevie Wonder between albums and at arguably at the peak of his career when he appeared on the Sesame Street in 1973. In a rare Sesame Street-Soul Train crossover moment, Wonder and his full band performed his recent hit “Superstition.” He then returned with the original number “1,2,3 Sesame Street,” starting a new talk box fad at kindergarteners across the country.

Itzhak Pearlman – Easy and Hard

This isn’t as much a song as a lesson with the greatest classical violinist of his generation. Itzhak Pearlman was no stranger to Sesame Street when he appeared in this 1981 clip. Polio is all but forgotten today, but the message on disabilities and talent still rings true.

Cab Calloway – “Mr. Hi De Ho Man”

Cab Calloway earned the nickname “The Hi De Ho Man” after his signature song, “Minnie the Moocher” became a hit in 1931. Half a century later, Calloway converted his handle to a greeting and performed on Sesame Street with the perpetually contradictive Two-Headed Monster. Calloway’s guest spot occurred during a late career resurgence. After spending almost a decade as a has-been, Calloway was back in the spotlight, thanks to his role in “The Blues Brothers” film. The movie was directed and co-written by John Landis, who was good friends with Muppeteer Frank Oz. Oz, who voiced Grover, Bert and Cookie Monster on Sesame Street and Miss Piggy, Fozzie Bear and Yoda, appears as the guard who returns Joliet Jake’s belongings at the beginning of “The Blues Brothers.”

Ray Charles – “The Alphabet”

This bonus clip is from Ray Charles’ second stop on the Street in 1977. Although he’s just singing the alphabet, there are few artists who could make 26 letters swing so hard.

If there were such a thing as a time machine I would transport myself to back to September 18, 2004. Location…Brooklyn, New York. Yup, I’d make sure I reappeared front row & center at Dave Chappelle’s “Block Party,” the infamous street concert that featured The Roots, Jill Scott, Mos Def, Erykah Badu, Common, Kanye, Dead Prez and best of all… The Fugees! Man, I wish that I could see them perform together again. I’m proud to say that I saw them perform at The Warfield in San Francisco back in the day. It was definitely one of the best concerts I’ve been to… ever! Off of their 1994 debut album Blunted On Reality check out this live performance of the “Nappy Heads” remix from Dave Chappelle’s “Block Party.”

It was 1994 and the world fell in love with HipHop once again. I say that because this group made it just that good. The first time i heard Lauren Hill spit i couldnt believe it. She had the punch lines, the charisma, the flow that most MC’s wish they had. She also could sing with a voice that even the Queen Mary J Blige couldnt deny! Albums like this capture soo many memories and life,culture and growing up. This is one of MY CLASSICS!

Had me from the first line of Wyclef’s verse, “The thought of you girl with another man, is the thought of me killing you with a gun in my hand.” Clef too real with his crazy a**!

Tunes Up! Classics! Apresenta Wyclef Jean, rapper de origem haitiana e ex-integrante do grupo Fugees, com a música “Perfect Gentleman”, abordando o envolvimento do cantor com uma go go dancer. A música tem uma batida envolvente que se complementa com a voz e o sotaque haitiano do rapper. O destaque da letra, “You calling her a hooker? He without sin cast the first stone”. Letra da música.

Assista ao clipe aqui.

O filme é bonzinho,  mas a música dos créditos…

PS1: Segundo o Petiscos, ontem foi aniversário da Julia Roberts. Como a gente A-D-O-R-A ela, vale ver o trailer de Teoria da Conspiração, lançado em 1997.

PS2: E seria Jerry Fletcher o Melhor Fã? Lembra como ele definia o amor por Alice?   

Love gives you wings. It makes you fly. I don’t even call it love. I call it Geronimo. When you’re in love, you’ll jump right from the top of the Empire State and you won’t care, screaming “Geronimo” the whole way down. I love her so bad, I just… whoa, she wrecks me. I’d die for her.

GERONIMOOOOOOOOOOOOOOOOOOOOOOOOO!!!!

PS3: E todo mundo sabe, mas não custa ressaltar que a Julia fará par com o Javier Bardem na versão de Comer, Rezar e Amar.  Veja a notícia do Ego e confira o meu trecho favorito do livro de Elizabeth Gilbert aqui.

john is coming to stay with us for the weekend. john & dawit are african refugee kids who we have unofficially adopted in kvutsat yovel. they walked and hitchhiked from eritrea to israel about 2 years ago, and were scooped up off the streets around the old bus station area in tel aviv by people from our movement. now, thanks to a special arrangement we made with the education ministry, they study at a boarding school during the week and stay with us over weekends & holidays. our decision making process to bring them into our home and take responsibility for them was simultaneously terrifying and inspiring, but the reality of it has turned out to be much less of a big deal. i’ll post a link to a relevant video here when I get a chance –> UPDATED: I posted the video in Hebrew and will try to find one with English subtitles, which I think exists, somewhere… UPDATE 2:  GOT IT HERE!
shabbat shalom,
james.