Editing Soukous (section)

==== Europe and the United States ====
[[File:Rochereau performing at Paris Olympia.jpg|thumb|[[Tabu Ley Rochereau]] performing at the [[Paris Olympia]] in 1970]]
In the late 1960s and early 1970s, soukous became a predominant popular African dance style across Africa and into the continent's diaspora in Belgium, France, the UK, and the United States.<ref name=":1">{{Cite journal |last=Ngoye |first=Achille |date=1995 |title=Le soukouss des Zaïrois en Europe |url=https://www.persee.fr/doc/homig_1142-852x_1995_num_1191_1_2536 |journal=Hommes & Migrations |volume=1191 |issue=1 |pages=42–47 |doi=10.3406/homig.1995.2536}}</ref><ref>{{Cite book |last=Winders |first=James A. |url=https://books.google.com/books?id=iqoYDAAAQBAJ |title=Paris Africain: Rhythms of the African Diaspora |date=5 June 2007 |publisher=Palgrave Macmillan US |isbn=978-0-230-60207-6 |location=New York, New York State, United States |pages=57 |language=en}}</ref> During this period, a surge of Zairean musicians moved to Belgium and France, primarily driven by the hegemony of the [[Mobutu Sese Seko]] regime, which propagated propaganda songs as part of the ''[[Authenticité (Zaire)|Authenticité]]'' campaign to foster a sense of national identity and pride through ideological slogans of the [[one-party state]], the [[Popular Movement of the Revolution|Movement Populaire de la Révolution]] (MPR).<ref>{{Cite web |last=Ndaliko |first=Chérie Rivers |date=March 2020 |title=Mobutu's Ghost: A Case for the Urgency of History in Cultural Aid |url=https://academic.oup.com/book/40543/chapter-abstract/347879247?redirectedFrom=fulltext# |access-date=11 May 2024 |website=academic.oup.com |publication-place=Oxford, England, United Kingdom}}</ref><ref name=":15">{{Cite book |last= |first= |url=https://books.google.com/books?id=L0OKDwAAQBAJ&dq=soukous+mobutu+authenticity&pg=PT1157 |title=The SAGE International Encyclopedia of Music and Culture |date=26 February 2019 |publisher=SAGE Publications |isbn=978-1-5063-5337-1 |editor-last=Sturman |editor-first=Janet |location=Thousand Oaks, California, United States |language=en}}</ref><ref>{{Cite book |last= |first= |url=https://books.google.com/books?id=TMZMAgAAQBAJ&dq=soukous+mobutu+authenticity&pg=RA1-PA201 |title=Africana: The Encyclopedia of the African and African American Experience |date=2005 |publisher=Oxford University Press |isbn=978-0-19-517055-9 |editor-last=Appiah |editor-first=Anthony |location=Oxford, England, United Kingdom |pages=201 |language=en |editor-last2=Gates |editor-first2=Henry Louis}}</ref> This [[Ideocracy|state ideological]] shift gradually infiltrated Zairean popular music, with popular musicians embracing the regime's ideology and documenting its achievements. Mobutu's encouragement of urban musicians paralleled [[Mao Zedong]]'s approach in [[China]], where music served the revolution.<ref name=":19">{{Cite web |last=Wa Mukuna |first=Kazadi |date=7 December 2014 |title=A brief history of popular music in DRC |url=https://www.musicinafrica.net/magazine/brief-history-popular-music-drc |access-date=13 May 2024 |website=Music In Africa |language=en}}</ref><ref name=":15" /><ref>{{Cite book |last= |first= |url=https://books.google.com/books?id=-OPNEAAAQBAJ&dq=soukous+artists+praise+mobutu&pg=PA301 |title=Africa: An Encyclopedia of Culture and Society [3 volumes] |date=2015-12-14 |publisher=ABC-CLIO |isbn=978-1-59884-666-9 |editor-last=Jean-Jacques |editor-first=Daniel |location=Santa Barbara, California, United States |pages=301 |language=en |editor-last2=Falola |editor-first2=Toyin}}</ref> As a result, the [[globalization]] of Congolese urban music expanded, leading to a massive exodus of musicians to African and European countries, most notably [[Belgium]] and [[France]].<ref name=":19" /><ref name=":26">{{Cite journal |last=Perullo |first=Alex |date=2008 |title=Rumba in the City of Peace: Migration and the Cultural Commodity of Congolese Music in Dar es Salaam, 1968-1985 |url=https://www.jstor.org/stable/20174590 |journal=Ethnomusicology |volume=52 |issue=2 |pages=296–323 |doi=10.2307/20174590 |issn=0014-1836 |jstor=20174590|url-access=subscription }}</ref> Many youths with limited employment options gravitated towards a music career, with Kinshasa's soukous scene becoming an attractive choice. However, some faced obstacles in establishing themselves in France.<ref name=":2" /><ref>{{Cite web |last=Rand |first=Jonas |date=17 December 2016 |title=Congolese Music, 1970s |url=https://saheltothecape.wordpress.com/2016/12/17/congolese-music-1970s/ |access-date=2024-05-11 |website=From the Sahel to the Cape |language=en}}</ref><ref name=":1" /> Against this backdrop, [[Tabu Ley Rochereau]] made history as the first African artist invited to perform at Paris's [[Olympia (Paris)|Olympia Hall]] in December 1970, where he attracted few connoisseurs and set a precedent for subsequent Zairean musicians.<ref name=":1" /><ref>{{Cite book |last=White |first=Bob W. |url=https://books.google.com/books?id=MsLMW6gCULgC |title=Rumba Rules: The Politics of Dance Music in Mobutu's Zaire |date=6 June 2008 |publisher=Duke University Press |isbn=978-0-8223-8926-2 |location=Durham, North Carolina, United States |pages=114 |language=en}}</ref><ref>{{Cite book |url=https://books.google.com/books?id=Bf0DAQAAIAAJ&q=Tabu+Ley+Rochereau+Paris+Olympia |title=Africa Events: Volume 1 |date=1985 |publisher=Dar es Salaam Limited |location=Dar es Salaam, Dar es Salaam Region, Tanzania |pages=60–61 |language=en}}</ref><ref>{{Cite book |last1=Barlow |first1=Sean |url=https://books.google.com/books?id=BCzaAAAAMAAJ&q=Tabu%20Ley%20Rochereau%20Paris%20Olympia |title=Afropop!: An Illustrated Guide to Contemporary African Music |last2=Eyre |first2=Banning |last3=Vartoogian |first3=Jack |date=1995 |publisher=Chartwell Books |isbn=978-0-7858-0443-7 |location=New York, New York State, United States |pages=28 |language=en}}</ref> [[Abeti Masikini]] followed suit, becoming the second Zairean and the first female soukous artist to grace the Olympia stage alongside [[Mireille Mathieu]] and [[Hugues Aufray]].<ref name=":24">{{Cite web |title=musicMe: Biographie de Abeti Maskini |url=https://www.musicme.com/Abeti-Masikini/biographie/ |access-date=2023-11-14 |website=musicMe |language=Fr |publication-place=Paris, France}}</ref><ref name=":52">{{Cite web |date=2012-06-19 |title=Abeti Masikini Finant Elisabeth 1954 -1994 |url=https://www.universrumbacongolaise.com/artistes/abeti-masikini/ |access-date=2023-11-17 |website=Universrumbacongolaise.com |language=fr-FR}}</ref><ref>{{Cite book |last=Bergman |first=Billy |url=https://books.google.com/books?id=fzLaAAAAMAAJ&q=abeti+masikini+1974 |title=African Pop: Goodtime Kings |publisher=Blandford |year=1985 |isbn=978-0-7137-1551-4 |pages=51 |language=en}}</ref> This momentum continued with Masikini's performance at [[Carnegie Hall]] in New York on 11 March 1974, setting the stage for burgeoning singers, [[griot]]s, and other lesser-known divas from Africa.<ref name=":1" /><ref name=":25">{{Cite news |last=Fraser |first=C. Gerald |date=1974-03-11 |title=African Singer, Too, Got A Start in Church Choir |url=https://www.nytimes.com/1974/03/11/archives/african-singer-too-got-a-start-in-church-choir.html |access-date=2023-11-16 |work=The New York Times |language=en-US |issn=0362-4331}}</ref>

Concurrently, the M'Bamina orchestra ventured to Paris before seeking audiences in [[Italy]] in 1972.<ref name=":1" /> Pablo 'Porthos' Lubadika arrived in Paris in 1979 with singer [[Sam Mangwana]] through [[Lomé]], Togo, after recording under the name the African All Stars. Mangwana, having collaborated with nearly every prominent figure in Congo, relocated to [[Abidjan]] in 1978 to pursue better opportunities. He formed a new band of Congolese economic exiles, who became regulars in Parisian session bands.<ref name=":28"/> The African All Stars' breakout hit, "Suzana Coulibaly," released on 31 December 1979, featured "simple, repetitive rhythms" at a faster tempo than traditional Congolese rumba.<ref name=":28"/> Mangwana's exclamation "soukous sophistiqué" as Lokassa Ya M'Bongo and [[Rigo Star]] crafted a "rock-solid" sebene solidified the record's direction, initiating an independent musical movement targeting the international market. As their influence grew, the African All Stars adapted the fast, rough stylings of youth bands in Brazzaville and Kinshasa, introducing this new tempo globally.<ref name=":28"/>