Day: January 28, 2018

For musicians from the West African nation of Burkina Faso, a nomination for a Grammy Award should have been the crowning achievement of a musical career.

Instead, musicians based in Bobo-Dioulasso, whose work is featured on the three-disk compilation “Bobo Yeye,” didn’t even know they had been nominated or that the album even existed.

“As a musician, I am totally disappointed to learn that we have spent time moaning, suffering and that someone else can just make a compilation of our music and that it is going for an award,” musician Stanislas Soré told VOA French to Africa Service on Friday.

Soré is a member of the Volta Jazz group, whose songs are part of the album titled “Bobo Yeye, Belle époque in Upper Volta,” which is nominated for two Grammy Awards.

It is a compilation of recordings in the 1970s in Bobo, second-largest city of Burkina Faso, then known as Upper Volta.

The news of the Grammy nomination surprised the musicians, who wondered how their music was put on CDs and distributed worldwide without their knowledge or consent. It turns out French music producer Florent Mazzoleni made the compilation produced by The Numero Group, a Chicago-based production company.

“These are artists that I have always admired and I wrote about 20 books on African music, including a book in 2015 called ‘Burkina Faso Modern Music Voltaic,’” Mazzoleni said in a phone interview.

Mazzoleni said he wanted “to pay tribute to all those people in the shadows, who made the culture of Bobo-Dioulasso.”

At the time, he said, Upper Volta was a poor country with limited ability for people to communicate with the outside world or record music. “People recorded with what they could get and yet they managed to create one of the most fascinating modern music of the continent,” Mazzoleni said.

Disagreement over book, compilation

But the artists themselves are not happy, saying he has been unfair to them. They pointed out that when they met him, he talked only about a book project.

“All I know, there was this white guy who came here; he tried to get information on what life was like in the orchestras of the old days. We understood he was going to make a book of the history of our music. But when it comes to producing a compilation or stuff like that, we’ve never talked about that, never, never, ever,” Soré, of Volta Jazz, said.

His account was backed up by Nouhoun Traoré Banakourou, saxophonist and guitarist of the group Echo Del Africa, who acknowledged that he worked with Mazzoleni on a book project, but not a compilation.

“What he is doing now is not what he offered me. When he came for the book, my son asked him for a gift for me. He gave me 200,000 CFA francs (around $380) that day,” Nouhoun Traoré recalls.

“He took a recording of our boss, Tanou Bassoumalo, an old recording, and told me he would see if he can recover the tracks and fix them. He left and never came back. Nor did he call me, or say anything else,” Traoré said.

The French producer denies these allegations. He claims to have followed all the necessary steps. “I have all the permissions, all the contracts,” he told VOA.

“I met the founders of the group, the people who had the contracts at the time, what more do you want me to tell you? Obviously, I cannot meet everyone. Obviously, when you have a project like this that comes to fruition, people talk about it and the fact that it is nominated for the Grammy Awards, it attracts the interest of some people,” Mazzoleni said.

Whatever the outcome at the award ceremony on Sunday in Madison Square Garden, Burkinabe musicians and citizens see it as an honor for their music and culture, which is getting world exposure, despite the controversy.
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Without the use of traditional instruments and in an interconnected world, what makes a Chinese composition distinctively Chinese? The Juilliard School’s Focus! Festival 2018 seeks to challenge our preconceptions of the 1.4 billion-population nation, led by a cast of contemporary Chinese composers and acclaimed Juilliard orchestral students. VOA’s Ramon Taylor sat down with one of China’s most prominent young conductors and the festival’s founding director on the evolving commonalities and differences of orchestral music, East and West.
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Comic strip artist Mort Walker, a World War II veteran who satirized the Army and tickled millions of newspaper readers with the antics of the lazy private Beetle Bailey, died Saturday. He was 94. 

Walker died at his home in Stamford, Connecticut, said Greg Walker, his eldest son and a collaborator. His father’s advanced age was the cause of death, he said.

Walker began publishing cartoons at age 11 and was involved with more than a half dozen comic strips in his career, including Hi and Lois, Boner’s Ark and Sam & Silo. But he found his greatest success drawing slacker Beetle, his hot-tempered sergeant and the rest of the gang at fictional Camp Swampy for nearly 70 years.

‘Beetle’ was originally ‘Spider’

The character that was to become Beetle Bailey made his debut as Spider in Walker’s cartoons published by The Saturday Evening Post in the late 1940s. Walker changed Spider’s name and launched Beetle Bailey as a college humor strip in 1950.

At first the strip failed to attract readers, and King Features Syndicate considered dropping it after just six months, Walker said in a 2000 interview with The Associated Press. The syndicate suggested Beetle join the Army after the start of the Korean War, Walker said.

“I was kind of against it, because after World War II, Bill Mauldin and Sad Sack were fading away,” he said. But his misgivings were overcome and Beetle “enlisted” in 1951.

Walker attributed the success of the strip to Beetle’s indolence and reluctance to follow authority.

“Most people are sort of against authority,” he said. “Here’s Beetle always challenging authority. I think people relate to it.”

Beetle Bailey led to spinoff comic strip Hi and Lois, which he created with Dik Browne, in 1954. The premise was that Beetle went home on furlough to visit his sister Lois and brother-in-law Hi.

Fellow cartoonists remembered Walker on Saturday as a pleasant man who adored his fans. Bill Morrison, president of the National Cartoonists Society, called Walker the definition of “cartoonist” in a post on the society’s website.

“He lived and breathed the art every day of his life. He will be sorely missed by his friends in the NCS and by a world of comic strip fans,” Morrison said.

Fellow cartoonist Mark Evanier said on his website that Walker was “delightful to be around and always willing to draw Beetle or Sarge for any of his fans. He sure had a lot of them.”

Beetle Bailey, which appeared in as many as 1,800 newspapers, sometimes sparked controversy. The Tokyo editions of the military newspaper Stars & Stripes dropped it in 1954 for fear that it would encourage disrespect of its officers. But ensuing media coverage spurred more than 100 newspapers to add the strip.

Shortly after President Bill Clinton took office, Walker drew a strip suggesting that the draft be retroactive in order to send Clinton to Vietnam. Walker said he received hundreds of angry letters from Clinton supporters.

Sensitivity training for general

For years, Walker drew Camp Swampy’s highest-ranking officer, General Amos Halftrack, ogling his well-endowed secretary, Miss Buxley. Feminist groups claimed the strip made light of sexual harassment, and Walker said the syndicate wanted him to write out the lecherous general. 

That wasn’t feasible because the general was such a fixture in the strip, Greg Walker said Saturday. His father solved the problem in 1997 by sending Halftrack to sensitivity training.

“That became a whole theme that we could use,” said Greg Walker, who with his brother, Brian, intends to carry on his father’s work. Both have worked in the family business for decades.

Beetle Bailey also featured one of the first African-American characters to be added to a white cast in an established comic strip. (Peanuts had added the character of Franklin in 1968.) Lieutenant Jack Flap debuted in the comic strip’s panels in 1970.

In a 2002 interview, Walker said that comics are filled with stereotypes and he likes to find humor in all characters.

“I like to keep doing something new and different, so people can’t say I’m doing the same thing all the time. I like to challenge myself,” he said.

Walker also created Boner’s Ark in 1968 using his given first name, Addison, as his pen name, and Sam & Silo with Jerry Dumas in 1977. He was the writer of Mrs. Fitz’s Flats with Frank Roberge.

In 1974, he founded the International Museum of Cartoon Art in Connecticut to preserve and honor the art of comics. It moved twice before closing in 2002 in Boca Raton, Florida. Walker changed the name to the National Cartoon Museum and announced in 2005 plans to relocate to the Empire State Building in New York. But the following year, the deal to use that space fell through.

In 2000, Walker was honored at the Pentagon with the Army’s highest civilian award — the Distinguished Civilian Service award — for his work, his military service and his contribution to a new military memorial.

He also developed a reputation for helping aspiring cartoonists with advice.

“I make friends for people,” he said.

Kansas native

Addison Morton Walker was born September 3, 1923, in El Dorado, Kansas, and grew up in Kansas City, Missouri.

In 1943, he was drafted into the U.S. Army, serving in Europe during World War II. He was discharged as a first lieutenant, graduated from the University of Missouri-Columbia and pursued a career as a cartoonist in New York.

Walker most recently oversaw the work of the staff at his Stamford studio, Comicana.

Besides sons Greg and Brian, Walker is survived by his second wife, Catherine; daughters Polly Blackstock and Margie Walker Hauer; sons Neal and Roger Walker; stepdaughters Whitney Prentice and Priscilla Prentice Campbell; and several grandchildren.

Funeral services will be private.
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