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Kery James doesn’t “plaisante pas”!

Kery James unveils the visual for “Je ne plaisante pas,” taken from the soundtrack of Banlieusard 2. Once again, the social mural by Kery James narrates the story of a sibling rivalry, where everything differs except the courage of a mother—a universal characteristic of French neighborhoods. In 2001, Kery James sets aside his alias Ideal J and becomes the spiritual successor to Nas in France with the album “Si c’était à refaire“. A filmmaker, playwright, extraordinary actor, the native of Vitry-sur-Seine has never sold his soul to the industry or the state. He has denounced throughout his life, avoiding judgment, steering clear of the star system, and the throne chase. The artist has long operated in the shadow of show business, having already penned his “Lettre à la République” and even “Lettre à son public“.

Kery James doesn’t “plaisante pas“!

The title “Je ne plaisante pas” is entirely conceptual. Since his conversion to conscious rap in 2001, the artist has consistently expressed his unease. In “Lettre à mon public,” the artist declares:

Moi aussi, j’ai ma part d’ombre
Et je suis seul face à elle, quand ma part de lumière tombe
Ma part d’ombre a peu de morale et de vertu
Ce qu’abandonne ma lumière, ma part d’ombre le perpétue.
Trop exposé au plaisir de la chair
Ma part d’ombre pourrait éteindre ma lumière
Ma part d’ombre déteste lever le drapeau blanc
Si ce n’est que pour t’étouffer avec et le tremper dans ton sang.
Ma part d’ombre pourrait déraper, frapper, s’armer, armer
Une arme à feu, faire feu et la décharger.
Mes ennemis ignorent de quoi je suis capable
Je suis sur les ailes de la colombe, mais mon équilibre est instable.”

This internal struggle, illustrating the journey and “combat” of Kery James, has carried him and his audience throughout his life. In “Je ne plaisante pas,” set against an electro and jungle-influenced instrumental, the artist “mimes” his breaking point, reminiscent of a certain Disiz who began his career in this niche.

It’s a cry of revolt—a revolt that is not without cause. In his exposition, Kery James describes the injustices that have made him “perdre” his internal battle.

The “Je pète les plombs” of Kery James!

The composer of the track is unknown on Genius and in the description of the video. Tidal credits it to the name of Kery James himself, but it seems that the instrumental composition takes a back seat on this track. The video is not cinematic but theatrical, like an old film by Eisenstein.

The rapper stands in the middle of a black background with impeccable interpretation, he who played the advocate for neighborhoods in Parisian theaters, in a dance of “mort” magnified by Cristo the director. Before becoming the talented director who has already contributed to Kery James‘ project by directing the video for “Je peux,” the artist was also a talented and committed independent rapper.

Kery James unveils a small work of art, even if with the current situation in France, he increasingly takes on the role of a “Cassandre” that nobody wants to listen to.

C.E.O HELL SINKY, author, journalist, documentary

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