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ANGÉLIQUE KIDJO ON THE WALK OF FAME IN HOLLYWOOD! ANGÉLIQUE KIDJO SUR LA WALK OF FAME À HOLLYWOOD!

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English version  Angélique Kidjo, five-time Grammy Award winner, received the 2,854th star on the Hollywood Walk of Fame on August 18 at 11:30 am, at 7011 Hollywood Boulevard, across from the historic Hollywood Roosevelt Hotel, in the “Recording” category. This is a first for an African singer. More specifically, she is the first Black African artist selected for a star on the prestigious Hollywood Walk of Fame — an important nuance, since Charlize Theron, a white South African actress, already has one there. The 66-year-old French-Beninese artist was joined for the ceremony by Willem Dafoe and Harvey Mason Jr., head of the Grammy Awards. She hailed the moment as “a historic moment for the continent,” declaring: “We Africans don’t know what we have brought to the world.” This honor comes after an international career spanning more than forty years, five Grammy Awards, and a discography of 18 albums, over the course of which she blended West African styles with funk, jazz, and R...

FOR THE TRUTH ABOUT THE PATERNITY OF THE LYRICS OF « LA CONCORDE »! POUR LA VÉRITÉ SUR LA PATERNITÉ DES PAROLES DE « LA CONCORDE »!

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English version   For several years now, a controversy has run through Gabonese collective memory: who truly wrote the lyrics of “La Concorde,” the national anthem adopted in 1960? The official version attributes both the lyrics and the music to Georges Damas Aleka. Another account, circulated on social media, puts forward the name of a teacher posted in Mitzic around the time of independence, Evariste Etoughe, said to have written the lyrics, with Damas Aleka credited as the composer of the music. This debate deserves better than a clash of press releases or a social media controversy. It deserves a factual clarification, carried out with the same rigor one would apply to any question of intellectual authorship. Three reasons argue for such an undertaking. 1 - First, a historical reason. A national anthem is not a simple song: it is a founding text, sung by generations of schoolchildren and citizens. That its origin should remain uncertain or contested sixty-six years after its ad...

THE PRESIDENT’S SPOKESMAN GOES ON TV TO READ SUCH BANALITIES? LE PORTE PAROLE DE LA PRÉSIDENCE PASSE À LA TÉLÉ POUR LIRE DE TELLES BANALITÉS ?

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YESTERDAY THE ZEALOUS WERE THE ALI-BOYS, THEN THERE WERE THE BLA BOYS, AND TODAY HERE ARE THE OLIGUI-BOYS ! HIER LES ZÉLÉS ÉTAIENT LES ALI-BOYS, PUIS IL Y A EU LES BLA BOYS, ET AUJOURD’HUI VOICI LES OLIGUI-BOYS!

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  English version   Any clear-sighted and relentless observer of the mechanics of clientelism and the reproduction of courtiers, particularly in the current Gabonese political context, will bring to light the fact that, ultimately, nothing really changes. It is nothing more than a petty game of rent-seekers following one another in single file. The evolution of these labels, from the Ali-Boys to the BLA-Boys, arriving today at the Oligui-Boys; strikingly illustrates how the system reinvents itself in form without ever changing in substance. It is not new ideological visions that are emerging, but simply new networks of influence. Loyalty shifts opportunistically toward the new center of gravity of power to secure a seat at the table, or in the kitchen. The term "rent-seekers" (or  profiteers ) is of surgical precision here, because in a state structure where the distribution of wealth is tied to proximity to the top of the State, allegiance becomes the ultimate economic a...

GABONESE STINK IN PUBLIC TRANSPORT IN LBV, DUE TO LACK OF WATER. BUT THE OLIGUI-BOYS DISSERT ON OVERPRICED LIMOUSINES ! LES GABONAIS PUENT DANS LES TRANSPORTS EN COMMUN À LBV, PAR MANQUE D’EAU. MAIS LES OLIGUI-BOYS DISSERTENT SUR LES LIMOUSINES HORS DE PRIX !

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THE ADVERTISEMENT OF AURÉLIEN MINTSA NGUEMA! LE PUBLI-REPORTAGE D’AURÉLIEN MINTSA NGUEMA!

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HE IS MOVED BY THOSE WHO MASSACRED PEOPLE IN 2016! IL S’ÉMEUT DEVANT CEUX QUI ONT MASSACRÉ LES GENS EN 2016!

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