Art Exhibition : « Des Corps libres–Une jeune scène française »

«Des Corps libres–Une jeune scène française» [Free Bodies – A young French scene] is the first group exhibition of Reiffers Art Initiatives. Artists with Caribbean roots represented in this collective exhibition are Kenny Dunkan (Guadeloupe) and Pol Taburet (Guadeloupe). [Shown above is Dunkan’s “Nèg Marron,” 2021; shown below: Taburet’s “Untitled,” 2021, Collection Pinault.]

Curated by Thibaut Wychowanok, committee member of Reiffers Art Initiatives, the body of work in the exhibition questions the representation and fluctuating materiality of the body and celebrates its diversity, its struggles, and its contemporary emancipation. The exhibition opened on May 5 and will remain on view through May 28, 2022, at Studio des Acacias (30, rue des Acacias, 75017 Paris, France). The gallery is open Tuesdays through Saturdays (11:00am to 7:00pm).


Description: The exhibition is an invitation to explore the possibility of a body, singular or universal, whether it be evanescent, fantastical, digital, anchored in our current world, science-fictional, or utopian. From the body-object to the body-subject, from the figurative body to the hint of a body, from the dreamed body to the digital avatar body, it is a question not only of writing the body without censorship, but of offering the possibility of taking a new look at it, in complete freedom.

Translated by Ivette Romero. For original information (in French), see

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Director Euzhan Palcy honored by SACD

The SACD—Société des Auteurs et Compositeurs [Society of Dramatic Authors and Composers]—have chosen Martinican director and screenwriter Euzhan Palcy as the recipient of the SACD Medal of Honor on Monday, June 13, 2022. Here is the announcement from their site:

A pioneer of cinema honored by the authors

Jean-Xavier de Lestrade, Chairman of the Board of Directors of the SACD, will present on Monday June 13, 2022, the Medal of Honor of the Society of Dramatic Authors and Composers to director and screenwriter Euzhan Palcy, first female director and first black artist to receive a César Award. This distinction created by the Board of Directors of the SACD is intended to honor the talent and the corpus of work by an author.

Chaired by Jean-Xavier de Lestrade, the ceremony will take place at the headquarters of the SACD in the presence of members of the Board of Directors of the SACD, Pascal Rogard, Director General of the SACD and President of the French Coalition for Cultural Diversity and Patrick Raude, General Secretary of the SACD.

A journey of passion and commitment

Born in Martinique in 1958, French director and screenwriter Euzhan Palcy discovered her passion for cinema at the age of fourteen. Indeed, it was at this age that Euzhan Palcy read the novel La Rue Cases-Nègres by Joseph Zobel, a book that would fuel her desire to become a filmmaker. She then made the promise that she would one day adapt this story to the big screen, a story that spoke to her for the first time of an environment and characters that she recognized and that she wanted to [translate] into images.

In 1975, after the self-taught making of the TV film La Messagère, she left for mainland France to continue her studies at the École Louis Lumière. She performed assistantships or editing work for big names in cinema. In 1981, the National Film and Moving Image Center (CNC) awarded her an advance on earnings, making her the first filmmaker from the Caribbean to benefit from this award. She then shot Rue Cases-Nègres in Fort-de-France, thanks to the decisive help of Aimé Césaire, then mayor. In 1983, Euzhan Palcy fulfilled her promise as a teenager with the theatrical release of Rue Cases-Nègres, which became a great success. In 1984, the 25-year-old director became the first female filmmaker to receive the César for her first film. Rue Cases-Nègres won nearly 20 international awards.

Buoyed by this success, in 1989 Euzhan Palcy left for the United States to direct A White and Dry Season, a film about Apartheid in South Africa, which made her the first black director to be produced by a major Hollywood company and the first woman to direct Marlon Brando. The film was a success and earned her an Oscar nomination in 1990. She directed several other projects in the United States and France, ranging from fiction to documentary, including in 1994 a documentary triptych on Aimé Césaire, in 2007 a fiction on the colonial period on the island of Reunion Les Mariées de l’Isle Bourbon, or the documentary Parcours de dissidents in 2010. Winner of numerous awards and distinctions, the inspired and inspiring journey of Euzhan Palcy is an example for new generations of authors and authors, for which Jean-Pascal Zadi paid tribute to her when she won her César for Tout simplement noir in 2021.

Translated by Ivette Romero. For original article (in French), see

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Haiti’s Revolutionary Leader Toussaint Louverture Is a Hero for Our Time

Charles Forsdick (Jacobin Magazine) reviews Black Spartacus: The Epic Life of Toussaint Louverture by Sudhir Hazareesingh (Penguin, 2021).

Sudhir Hazareesingh’s account of what he dubs the “epic life” of Toussaint Louverture provides a meticulous biography of his subject and, at the same time, a comprehensive new introduction to the Haitian Revolution in general. Black Spartacus represents a substantial intervention in the field of Haitian revolutionary historiography and the wider historiography of revolution.

Hazareesingh’s biography has rightly attracted numerous accolades, not least the Wolfson History Prize, the UK’s most prestigious award for a work of historical nonfiction. There is also reported to be a TV adaptation in the offing by Mammoth Screen, the British production company known for such series as The Serpent and Poldark.

Black Spartacus is compellingly written and presents its rich source material, both historiographic and archival, with a welcome lightness of touch. The resulting work will cement Louverture’s standing in the Anglophone world as a key figure of the age of revolutions whose contemporary resonance is more apparent than ever.

An Energy With No Borders

“The ideal of black empowerment,” notes Hazareesingh, “was at the heart of Toussaint’s legend.” First published in September 2020, during the autumn following the murder of George Floyd and the global protests associated with Black Lives Matter, the new biography proved timely. Many people cited the Haitian leader as a historical precedent and inspiration for the contemporary movement.

Here is a man who transformed revolt into organized revolution, a leader characterized by an uncompromising commitment to universal emancipation.

It may not be a “progressive handbook for revolution across the globe,” as the author describes C. L. R. James’s work The Black Jacobins. Yet Black Spartacus nevertheless offers an account of a revolutionary icon who led a struggle for black emancipation combating the key forms of oppression of his age: “slavery, settler colonialism, imperial domination, racial hierarchy and European cultural supremacy.” Here is a man who transformed revolt into organized revolution, a leader characterized by an uncompromising commitment to universal emancipation, who exposed the blind spots and illogicality of European thinking.

Hazareesingh’s aim is to show how Louverture was above all “inspired by the Makandalist ambition to create a common consciousness among black slaves, by the movement’s appeal to their aspirations for liberty, and by its goal to forge an efficient revolutionary organization.” The term “Makandalist” refers to François Makandal, who organized a secret society of Haitian slaves a generation before Louverture, preparing a revolt before he was captured and brutally executed. His example helped inspire the revolution that Louverture went on to lead.

The original hardback’s cover image is drawn from François Cauvin’s 2009 portrait of Louverture with a pintade (guinea fowl) forming his hat. In Haiti, people see these birds as a symbol of liberty and resistance. On their introduction to the colony, they are reported to have resisted domestication and fled their would-be captors in the style of Maroons.

The conclusion of Black Spartacus moves from the archive to the varied corpus of cultural representations that feature Louverture. Having cited Wyclef Jean and Akala, Hazareesingh closes with Haitian voices, specifically with those of the band Chouk Bwa (“Tree Stump”). Its name was inspired by the revolutionary leader’s speech on the “tree of liberty,” one that he is said to have delivered when Napoleon Bonaparte’s troops kidnapped him and deported him from Haiti to France, where he would die in captivity in April 1803. Hazareesingh quotes the group’s singer, Edele Joseph, who summarizes his band’s Louverturian spirit: “The mission is to bring positive energy to people. . .  The energy has no borders.”

The Precursor and the Liberator

Outside Haiti, Louverture has tended to attract more hagiographic approaches that often downplay his personal and strategic flaws. These complexities are more visible in Haiti itself, where the specters of the Revolution are never far from the surface.

Outside Haiti, Louverture has tended to attract more hagiographic approaches that often downplay his personal and strategic flaws. In his 2005 essay, La Cohée du Lamentin, Édouard Glissant described the ghost of Toussaint Louverture haunting the ramparts of the Château de Joux, the fort in the Jura region of France where, progressively starved by Napoleon of food, heat, and light, he died in April 1803. The French had sought to remove Louverture from the country and neutralize his influence over the formerly enslaved inhabitants of the colony of Saint-Domingue. Instead, the man now known as the “Precursor” inspired his former generals — notably Jean-Jacques Dessalines (the “Liberator”) and Henri Christophe — to rise up again against Charles Leclerc’s occupying forces. They transformed a revolution driven by a desire for emancipation from enslavement into an anti-colonial war of independence.

Writers often attribute very different views of Haiti’s future to the Precursor and the Liberator, with the former supposedly committed to the country’s autonomy in a French commonwealth of nations, while the latter was naturally suspicious of former colonizers and insisted on self-sufficiency at all costs. In reality, the differences between the two men were not as polarized as these depictions suggest. Yet Haitian politics remains split between Louverturians and Dessalineans, as the legacies of the revolution continue to resonate in the present. [. . .]

Citizen Toussaint

Black Spartacus belongs to a long tradition of English-language biographies that concentrate on Toussaint Louverture. This lineage extends back to the 1802 English translation of Jean-François Dubroca’s racist, scurrilous, and pro-Napoleonic account of his life but also includes more approving texts that followed in the nineteenth century, such as The Life of Toussaint L’Ouverture, the Negro Patriot of Hayti, published by the Unitarian minister John Relly Beard in 1853.

The main text with which Hazareesingh inevitably engages, however, is The Black Jacobins. This is a work that the author clearly admires, but it does not escape his criticism. In emphasizing his subject’s Jacobin credentials, Hazareesingh argues, C. L. R. James ignored his monarchist tendencies as well as the “breathtaking originality” of his revolutionary endeavors.

Other English-language biographies followed in the wake of James, most notably Ralph Korngold’s Citizen Toussaint, published by the Left Book Club in 1944, and Wenda Parkinson’s “This Gilded African, which appeared in 1978. More recently, there has been a cluster of biographical studies, notably those of Madison Smartt Bell and Philippe Girard.

Smartt Bell’s life of Louverture is a companion piece to his trilogy of novels on the Haitian Revolution. It presents his subject as a vaudouisant, a shape-shifting practitioner of traditional religion who at the same time mastered and deployed Enlightenment knowledge. Girard draws on an impressive body of archival material, particularly when it comes to his subject’s early life. Yet his analysis reverts to a new conservative revisionism that claims one of Louverture’s principal aims was to acquire wealth and social status for himself. [. . .]

For full review, see

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See more on the book at

Mort du médecin Paul Farmer, « grand ami d’Haïti »

Voici un article d’Agence France Presse (21 février 2022) sur la mort de Paul Farmer, l’éminent praticien de la «médecine sociale» et co-fondateur de Partners in Health, qui a consacré sa vie à la santé publique en Haïti, au Rwanda et dans d’autres pays.

Le médecin américain Paul Farmer, connu pour son travail humanitaire dans les pays en développement, est décédé lundi au Rwanda à l’âge de 62 ans, a annoncé son organisation basée à Boston.

« Le Dr Paul Farmer est décédé de façon inattendue aujourd’hui dans son sommeil », a indiqué l’ONG humanitaire Partners in Health qu’il avait co-fondée depuis Haïti à la fin des années 1980, pour fournir des traitements aux populations dans les pays pauvres.

Spécialiste des maladies infectieuses

Professeur à Harvard, anthropologue et spécialiste des maladies infectieuses, il a vécu de longues années dans ce pays des Caraïbes.

En 2010, au moment du séisme catastrophique, Paul Farmer est responsable de co-piloter les efforts des Nations unies en Haïti, travaillant aux côtés de l’ancien président américain Bill Clinton.  

Il était « l’une des personnes les plus extraordinaires que nous ayons jamais connues », a salué ce dernier dans un communiqué.

La directrice de l’agence américaine d’aide au développement, Samantha Power, a qualifié sa mort de « dévastatrice ». « Paul donnait tout aux autres, tout », a-t-elle souligné, saluant un « géant », « généreux » et « brillant ».

Paul Farmer, dénonçant régulièrement l’impact mortel de la pauvreté sur la santé était aussi très connu pour ses années passées en Afrique, lors desquelles il avait fait de la lutte contre Ebola un de ses principaux combats.

Plaidant pour « des soins de qualité » en Afrique de l’Ouest, il s’était récemment illustré dans des vidéos d’appels aux dons aux côtés de stars américaines comme Jennifer Lawrence ou Julianne Moore.

« Si vous aviez la chance de le connaître, votre vie était changée, en mieux », a assuré l’acteur américain Edward Norton, connu pour son investissement dans l’entrepreneuriat social.

Au Rwanda, Paul Farmer a oeuvré à la fondation d’une université ayant pour but de remédier au manque de professionnels de la santé en Afrique, formant non seulement des médecins, mais également des spécialistes des questions de soins de santé dans les régions pauvres ou rurales.

L’institution a qualifié son décès de « catastrophe inimaginable ».

Paul Farmer était marié et avait trois enfants.

À lire :  

Haïti : Le docteur Paul Farmer est mort
AlterPresse, 21 février 2022

Dr Paul Farmer est mort dans son sommeil : un électrochoc en Haïti et ailleurs
Le Nouvelliste, 21 février 2022

Merci, Docteur Paul Farmer
Le Nouvelliste, 21 février 2022

Paul Farmer : un ami d’Haïti est mort
Haïti Standard, 21 février 2022

Haïti : Le Dr Paul Farmer, co-Fondateur de «Zanmi Lasante» est décédé
Haïti Libre, 22 février 2022

Gaëlle Bien-Aimé lauréate de la résidence d’écriture francophone 2022

Un article de Bethaida Bernadel (MagHaiti):

La bonne nouvelle vient tout juste de tomber, l’autrice haïtienne Gaëlle Bien-Aimé est la lauréate de la résidence d’écriture francophone « Afrique-Haïti 2022″.

Cette résidence d’écriture portée par AlCA nouvelle Aquitaine et l’institut des Afriques (IdAf) depuis 2018 a pour but, selon les organisateurs, de favoriser l’émergence des nouveaux talents littéraires africains et haïtiens sur la scène internationale.

La gagnante Gaëlle sera bénéficiaire d’un séjour de 12 semaines dans les lieux de résidence partenaires à la Rochelle, à Limoge et à Bordeaux, d’une bourse d’écriture d’environ 48 000 euros net, la prise en charge complète de son voyage et une participation aux rencontres publiques et aux médiations organisées par l’institut des Afriques, les francophonies des écritures de la scène et le centre intermonde, selon les organisateurs.

Gaëlle Bien-Aimé, cette féministe assumée est reconnue sur la scène artistique et littéraire depuis de nombreuses années. Elle a cofondé en 2018, une école d’Art dramatique nommée ACTE, elle est à la fois comédienne, humoriste, journaliste et professeure de corps et voix à ACTE.

Il convient de rappeler que Gaëlle Bien-Aimé est la deuxième autrice de nationalité haïtienne à être lauréate de la résidence Francophone. En 2018, l’Haïtienne Darline Gilles en a brillé également de mille feux en remportant ce même titre.

À lire :

Décès de Jean-Jacques Beineix, réalisateur de «37°2 le matin»

Very sad to hear about the death of French director Jean-Jacques Beineix, well-known as a major exponent of the cinéma du look. Here is a report from AFP.

Le réalisateur Jean-Jacques Beineix, auteur du film culte «37°2 le matin», est décédé jeudi. Il avait 75 ans.

Jean-Jacques Beineix, auteur du film culte «37°2 le matin», est décédé jeudi à l’âge de 75 ans, ont indiqué vendredi à l’AFP son frère Jean-Claude, ainsi que la femme et la fille du réalisateur.

Celui qui s’est fait connaître du public grâce à «Diva» (1981) et «37°2 le matin» (1986), une histoire d’amour et de folie d’après le roman de même titre de Philippe Djian, avec Jean-Hugues Anglade et Béatrice Dalle, est décédé à son domicile parisien des suites d’une longue maladie.

Nommé à neuf reprises aux César, «37°2 le matin» fut nommé à l’Oscar du meilleur film étranger et révéla Béatrice Dalle, qui incarnait le personnage de Betty. Né à Paris, Jean-Jacques Beinex entame des études de médecine avant de préparer la prestigieuse école de cinéma Idhec (aujourd’hui Femis) qu’il rate de peu.

Ses premiers projets l’amènent à la publicité. Il réalisera notamment le spot anti-Sida multi-diffusé «Il ne passera pas par moi». Après plusieurs projets, il décide de quitter le milieu. «C’est bien de mettre son talent au service de causes» et la publicité, «ce n’était pas des causes», expliquera-t-il.

Après «37°2 le matin» s’ensuivront plusieurs films, tous des échecs, dont «Roselyne et les lions». En 2001, après neuf ans d’absence, il revient avec «Mortel Transfert», un échec critique et commercial complet. Il déclare, d’ailleurs, que ce film l’endette fortement.

Ce sera le dernier de ses six longs-métrages, suivi de documentaires pour la télévision («Les enfants de Roumanie», «Place Clichy sans complexes»…), sous la bannière de sa société de production, Cargos Films. En 2016, il est président du jury du 29e Festival international du film de Tokyo.

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UNESCO adds Haiti’s freedom soup to cultural heritage list

Al Jazeera reports on the newest addition to UNESCO’s cultural heritage list: Haiti’s freedom soup: Soup Joumou. As the article underlines, “Haitians took ownership of Joumou Soup in 1804 and turned it into a national symbol of freedom and independence.” The dish is eaten on January 1, Haiti’s Independence Day, as well as served as a traditional Sunday morning breakfast.

The United Nations cultural agency (UNESCO) has added Joumou Soup – Haiti’s national symbol of freedom from slavery – to its intangible heritage list, saying the soup is “so much more than just a dish”.

UNESCO’s Intangible Cultural Heritage Committee decided on Thursday to put Joumou on its list of Intangible Cultural Heritage of Humanity.

The dish, also known as giraumon soup, is made of pumpkin, vegetables, plantains, meat, pasta and spices.

“Intangible cultural heritage has the capacity to unite communities around their unique know-how and traditions, and thus to strengthen social cohesion,” Audrey Azoulay, UNESCO director general, said in a statement.

“This is especially true when communities are hit by disasters or emergencies: intangible cultural heritage has a major role in community resilience and recovery,” Azoulay said.

Originally exclusively reserved to slave owners, Haitians – who prepared the dish but were never allowed to eat it – took ownership of Joumou Soup when they gained independence from France in 1804.

They turned it into a symbol of their freedom and the regaining of their dignity.

“So much more than just a dish, Joumou Soup tells the story of the heroes and heroines of Haitian independence, their struggle for human rights and their hard-won freedom,” Azoulay said.

Former Haitian Prime Minister Claude Joseph welcomed Joumou Soup’s addition to the UNESCO list, saying on Twitter that it filled him “with a lot of pride and emotion”.

The announcement comes at a time when the small Caribbean nation has been experiencing a series of crises. [. . .]

“Haiti has faced countless challenges, including natural disasters that have dramatically affected the daily lives of the population, and the country’s authorities wished to make an inscription that would help revive national pride while perpetuating a unifying and symbolic know-how,” Azoulay said.

According to the UNESCO application, there are several variations of Joumou Soup and it can be found in multiple Caribbean and Latin American cuisines.
For full article, see
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L’ex Massive Attack Tricky sort un court-métrage hypnotique : « Lonely Guest »

Après avoir publié le premier album de son nouveau projet Lonely Guest au mois d’octobre dernier, Tricky décline l’univers de cette aventure collective dans un court-métrage impressionnant qu’il a réalisé. Pour mettre en image ce disque passionnant qui comprend des collaborations avec Joe Talbot d’Idles ou Paul Smith de Maxïmo Park, l’ex membre de Massive Attack a opté pour des images sombres de la nuit berlinoise. Sur fond de sonorités électro-trip-hop-reggae-rock-soul moites, une poignée d’individus luttent contre des situations difficiles jusqu’à un dénouement aussi tragique que bouleversant. Après ces 13 minutes intenses, on n’a qu’une seule envie : voir Tricky monter sur la scène du Trianon à Paris le 22 avril [2022] prochain. 

À voir :

À lire : 

Belgian pop sensation Angèle: ‘When we speak about feminism, people are afraid’

Kim Willsher (The Guardian) writes, “A million-selling superstar at home and in France, she discusses her confrontation with Playboy, growing up in a famous family and being publicly outed as bisexual.” Angèle’s new album Nonante-Cinq is out now on Universal/Angèle VL Records.

A few years ago, a popular pub quiz question involved naming 10 famous Belgians. The answers often revealed more about British cultural ignorance than Belgium’s ability to produce international celebrities, given that the fictional Tintin and Hercule Poirot were the best many could come up with.

The game has got easier since the rise of Angèle, a stridently feminist Belgian pop singer-songwriter who shot to fame in 2016 after posting short clips singing covers and playing the piano on Instagram. She was young, talented and not afraid to make fun of herself, pulling faces and sticking pencils up her nose. Her 2018 debut album, Brol, sold a million copies; by 2019, she was a face of Chanel. “I’d always wanted a career in music, but I was thinking more of working as a piano accompanist,” she says, folding into an armchair at a five-star boutique hotel near the Paris Opéra. “I really didn’t expect it to happen like that.”

If Angèle, 26, is known in the UK, it is for her duet with Dua Lipa on the British singer’s 2020 song Fever (“There’s something very natural between us,” Angèle says), but in France and Belgium she is a household name performing to packed arenas. She has just released her second album, Nonante-Cinq (95, after the year she was born), 12 introspective disco-pop tracks with deceptively naive, childlike vocals. It follows a Netflix documentary about her life. “The success came from nowhere, almost from one day to the next,” she says. “It was very rapid and intense. I was very surprised by it all. I still am.”

This intensity ramped up in 2017 when she agreed to talk to Playboy. Despite being asked not to, the magazine used a photograph of Angèle topless and holding two peppers in front of her breasts. Feeling humiliated and betrayed, she says she cried for a week.

“They didn’t even write about the music I was doing, but just the fact that I was sexy,” she says. Amid the fallout, “I was also reduced to being a woman who wanted to draw attention to herself by sexualising her image, as if that wasn’t something good, while being sexy and sexual shouldn’t be a problem”. Playboy breaking her trust, she says, “was a hard lesson”.

Her response was Balance Ton Quoi (Squeal on What), a song that played on the French #MeToo phrase Balance Ton Porc (Squeal on Your Pig) and instantly turned her into a feminist figurehead.

“As a girl and young woman, I have suffered lots of sexist aggression, like the majority of women. There’s the harassment in the street and in relationships and there are sexist remarks and behaviour in the [music business],” she says, adding that it was seeing the lack of reaction to her brother, the rapper Roméo Elvis, performing shirtless that hammered home the sexist double standard. “Nobody remarks on it when he does it, but if there’s a topless picture of me in Playboy the discourse is pejorative. People don’t say: wow, isn’t that great and isn’t she lovely; they think it shames me.”

She wrote Balance Ton Quoi “because I knew what these women were talking about from my own experience. This song suddenly became a feminist hymn at protests – I found myself a bit of a feminist icon at 23 years old when I still had many things to learn.” Belgium and France, she says, “are still behind on sexism. Violence against women is still treated as a taboo subject and one that’s difficult to address and is minimised.” [. . .]

Watch the video for Bruxelles je t’aime, from the new album:

For full article, see

Angèle “Démons” (feat. Damso)

Angèle Van Laeken, better known as Angèle, is a Belgian singer-songwriter, musician, pianist, record producer and actress.

Damso, whose real name is William Kalubi Mwamba, is a Belgian-Congolese rapper, singer, and songwriter. 

See lyrics below.


Jusqu’ici, tout va bien, enfin, ça allait
Confiant, t’as peur de rien, avant de tomber
On verra bien demain, mais ça, plus jamais
J’ai pas l’air de m’en faire, mais si vous saviez
Comment c’est dans ma tête, ça me fait vriller
L’angoisse me fait la guerre et part en fumée

Jour après jour, je m’habitue
À mes ennemis qui me tuent
Et j’apprendrai toutes les vertus
Oh, jour après jour, je m’habitue
Quand j’en attends trop, j’suis déçue
Mais grâce à ça, moi, j’évolue

Comment faire pour tuer mes démons?
Comme un ange en enfer, j’oublie mon nom, eh, eh
Si la magie opère, tous ils tomberont, eh, eh
Comment faire pour tuer mes démons? Tuer mes démons

Le démon, mes démons (bah, ok)
Le démon, mes démons (bah, ok)
Le démon, mes démons (bah, ok)
Mes démons (bang, ah bah ouais)

J’feat avec Angèle, pas d’gros mots, radio, faut qu’on passe
Au lieu d’un “nique ta-” non, non, j’dirai “grand bien leur fasse”
Porte-feuilles achromate ne voit que violet, vert, ice
J’suis dans la zone, rageux me suivent à la trace
Comment faire pour tuer les haineux? Juste en n’en parlant plus
Ces faux rappeurs, non, font moins de vues qu’j’ai d’albums vendus

Très sincèrement, si je m’en vais, je n’reviendrai plus
Besoin d’explorer autre chose, me perdre dans le cosmos
Ils parlèrent dans mon dos couvert de vêtements chers italiens
Dans leur derrière, j’ferais un don de quelques futurs Homo sapiens
J’suis l’avatar du game et j’maîtrise les quatre éléments
J’rappe, je chante, j’produis, j’écris pour les gens

Je sais comment faire pour tuer tes démons
Comme un ange en enfer, j’oublie mon nom, eh, eh
Si la magie opère, tous ils tomberont, eh, eh
Comment faire pour tuer mes démons? Tuer mes démons
Comment faire pour tuer mes démons? (dé-démons, dé-démons)
Comme un ange en enfer j’oublie mon nom, eh, eh (no)
Si la magie opère, tous ils tomberont, eh, eh (ah bah ouais, ah bah ouais)
Comment faire pour tuer mes démons? Tuer mes démons

Si tu veux, j’le ferai pour toi
Mes démons, mes démons, mes démons, mes démons (si tu veux, j’le ferai pour toi)
Mes démons, mes démons, mes démons, mes démons (si tu veux, j’le ferai pour toi)
Mes démons, mes démons, mes démons, mes démons (si tu veux, j’le ferai pour toi)
Mes démons, mes démons, mes démons

Comment faire pour tuer mes démons?
Comme un ange en enfer, j’oublie mon nom
Si la magie opère, tous ils tomberont
Comment faire pour tuer mes démons? Tuer mes démons