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ma ma se ma ma sa ma ma coo sa

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Post by mjthekingofpop on Thu Nov 12, 2009 9:49 pm

ma ma se ma ma sa ma ma coo sa
this are lyrics of one song i observed in "this is it" can you please tell me what song is it. is it a new track..


Last edited by mjthekingofpop on Fri Nov 13, 2009 8:58 am; edited 2 times in total
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Post by ONESTEPCLOSER on Thu Nov 12, 2009 9:54 pm

Wanna be startin somethin Smile
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Post by mjj29081958 on Thu Nov 12, 2009 10:15 pm

Nope, it isn't a new track, is a great song from "Thriller" album ma ma se ma ma sa ma ma coo sa Icon_bounce ... And I just love it!! ma ma se ma ma sa ma ma coo sa Icon_biggrin
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Post by mjthekingofpop on Fri Nov 13, 2009 8:44 am

thanks a lot .. it was wanna be startin' something..
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Post by MJJ1982 on Fri Nov 13, 2009 8:47 am

I thought this was a new game... Wink
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Post by Gema on Fri Nov 13, 2009 8:51 am

Love that song ma ma se ma ma sa ma ma coo sa Icon_cheers
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Post by MJJ1982 on Fri Nov 13, 2009 8:53 am

Yeah... Lovely song... He really started something Wink
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Post by salvatora on Fri Nov 13, 2009 8:55 am

my fave song - wanna be startin' something
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Post by mjthekingofpop on Fri Nov 13, 2009 8:57 am

i searched on wikipedia and found that "ma ma se mama sa" is an old african chant. i love it
ma ma se ma ma sa ma ma coo sa Scaled.php?server=63&filename=lvbackfch4
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Post by andrea_garay2005 on Fri Nov 13, 2009 9:11 am

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Post by Grace on Fri Nov 13, 2009 9:26 am

It basically means. "dance!", both in words and in music...
Kelefa Sanneh explains it well in the July 6, 2009 online edition of The New Yorker:
http://www.newyorker.com/talk/2009/07/06/090706ta_talk_sanneh
Makossa is the name of a Cameroonian dance; Jazz artist Manu Dibango ad
libbed the word and put it to music on a B side single released in
1972, "Soul Makossa".
Michael Jackson and later Rihanna sampled it for their own
works decades later (without crediting the original work, in each
case).


http://www.newyorker.com/talk/2009/07/06/090706ta_talk_sanneh

Michael Jackson










































































































by Kelefa Sanneh



































July 6, 2009


























































































































ma ma se ma ma sa ma ma coo sa 090706_r18633_p233









Michael Jackson



















































The
news of Michael Jackson’s death arrived late on Thursday afternoon, and
the great outpouring of celebrity eulogies began immediately. Steven
Spielberg: “His talent, his wonderment, and his mystery make him
legend.” Beyoncé: “He was magic.” John Mayer: “I truly hope he is
memorialized as the ’83 moonwalking, MTV-owning, mesmerizing,
unstoppable, invincible Michael Jackson.” And, from France, a gracious
statement came from Manu Dibango, the seventy-five-year-old African pop
pioneer. He mourned the loss of “un artiste exceptionnel, le plus talentueux et ingénieux” (no translation necessary).Dibango
was one of countless people whose lives were changed by Jackson’s
music, although in Dibango’s case the changing was mutual. He was born
and reared in Cameroon, and was already a local favorite when he
recorded a song for the Cameroon soccer team. The result was a 1972
single called “Mouvement Ewondo,” but it was the B side—“Soul Makossa,”
a honking, galloping funk track—that was the real hit, in Africa, in
Europe, and in America, where it came to be seen as one of the first
disco records. A generation of disk jockeys learned to wield the power
of the song’s famous introduction: a hard beat, a single guitar chord,
and Dibango’s low growl. He named his song after the makossa, a Cameroonian dance, but he stretched the word out, played with it: “Ma-mako, ma-ma-ssa, mako-makossa.”
About
a decade later, Dibango was in Paris, listening to the radio at his
apartment, when he heard something familiar: those same syllables, more
or less, in a very different context. The d.j. was playing “Wanna Be
Startin’ Somethin’,” the unconventional first song from “Thriller.” It
is more than six minutes long, and although the music is exuberant
throughout, the lyrics aren’t as silly as they first sound: paranoia
(“Still they hate you, you’re a vegetable/You’re just a buffet, you’re
a vegetable”) gives way to exhortation (“If you can’t feed your baby,
then don’t have a baby”) and, eventually, inspiration (“I believe in
me/So you believe in you”). The galloping rhythm sounds a bit like
“Soul Makossa,” and near the end Jackson acknowledges the debt by
singing words that many listeners mistook for nonsense: “Ma ma se, ma
ma sa, ma ma coo sa.” Soon, Dibango’s phone started ringing. Friends
and relatives were calling to offer their congratulations: Michael
Jackson was singing his song! But Dibango’s pride turned to puzzlement
when he bought the album, only to find that the song was credited to
Michael Jackson and no one else. Dibango eventually worked out
a financial agreement with Jackson, and he made his peace with
“Thriller,” which might be (depending on how you keep score) the most
popular album of all time. Jackson seemed to have made his peace with
“Thriller,” too. Although he released four more albums of new music in
his lifetime, all multimillion sellers, and although he also had a
lifetime’s worth of great songs that predated “Thriller,” he didn’t
seem resentful about the album that came to define him. If “Thriller”
sometimes obscured his lesser achievements, it also upstaged his
greatest disasters: despite the noise from the child-molestation
scandals, his mutating appearance, and his escalating eccentricity,
those nine songs—almost all of which were released as singles—were
louder.


Jackson
gradually withdrew from the Top Forty scrum, but his songs never did.
In 2007, the pop singer Rihanna had a hit with “Don’t Stop the Music,”
which was based on “Wanna Be Startin’ Something.” She sings along with
the old syllables: “Ma ma se, ma ma sa, ma ma coo sa.” Once again,
Dibango heard his chant on the radio, and, once again, he noticed that
he wasn’t given credit. (Jackson is listed as a co-songwriter, but not
Dibango.) And so the process started anew. When Jackson died, Dibango
was still waiting for a French court to decide whether he was owed
damages for Rihanna’s use of Jackson’s version of Dibango’s chant. When
he was asked about this, Dibango replied, through his manager, that it
didn’t seem right to talk about it just now. His relationship with
Jackson may have been complicated, but his reaction to Jackson’s death
wasn’t: he was, he said, “very sad.”Thursday night in New York
was hot—after weeks of rain, it was one of the first real summer nights
of the year. Car windows were open all over the city, and just about
every station on the radio dial had switched to an all-Michael Jackson
format; for the first (and, for all we know, the last) time, it felt as
if absolutely everyone was listening to the same songs. Later that
night, at least one bar in Brooklyn continued the celebration into the
early hours of Friday. If you lived above it, you may have found
yourself awake at 3 A.M., listening to
a song you knew by heart: that familiar thump, that familiar chant. As
Jackson and Dibango and millions of listeners discovered, you can’t
escape “Thriller.” But, then, why would you want to? ♦️






Read more: http://www.newyorker.com/talk/2009/07/06/090706ta_talk_sanneh#ixzz0Wklo3ZuB
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