Concubinage is the state of a woman or man in an ongoing, usually matrimonially oriented, relationship with somebody to whom they cannot be married, often because of a difference in social status or economic condition.

Concubinage[link]

Statue of Yang Guifei (719-756), the favoured concubine of Emperor Tang Xuanzong of China.

A concubine is generally a woman in an ongoing, marriage-like relationship with a man with whom she cannot be married for a specific reason. It may be because she is of lower social rank than the man (including slave status) or because the man is already married. Generally, only men of high economic and social status have concubines. Many historical rulers maintained concubines as well as wives.

Historically, concubinage was frequently voluntary (by the woman and/or her family's arrangement), as it provided a measure of economic security for the woman involved.

Under Roman law, Roman culture under the Empire came to tolerate concubinage so long as the relation was durable and exclusive; for the jurists, concubinage was an honourable de facto situation.^[1]

When having no legal status but being recognized, or defined in law, as in ancient China, concubinage was akin, although inferior, to marriage. The children of a concubine were recognized as legal offspring of the father; their inheritance rights may have been inferior to younger children of a marriage, or they may have received a smaller inheritance. Men frequently used concubines to bear heirs when he and his wife were unable to produce sons.

In distinction to such systems, modern Western laws do not acknowledge the legal status of concubines, and recognize only monogamous marriages. Any other relationship does not enjoy legal protection, making the woman essentially a mistress.

Ancient Greece[link]

In Ancient Greece, the practice of keeping a slave concubine (Greek "pallakis") was little recorded but appears throughout Athenian history. Law prescribed that a man could kill another man caught with his concubine for the production of free children (thereby implying that concubines' children were not granted citizenship).^[2] While references to the sexual exploitation of maidservants appear in literature, it was considered disgraceful for a man to keep such women under the same roof as his wife.^[3] Some interpretations of hetaera have held they were concubines when one had a permanent relationship with a single man.^[4]

[edit] Ancient Roman Concubinae and concubini

Concubinage was an institution practiced in ancient Rome that allowed a man to enter into an informal but recognized relationship with a woman (concubina, plural concubinae) not his wife, most often a woman whose lower social status was an obstacle to marriage. Concubinage was "tolerated to the degree that it did not threaten the religious and legal integrity of the family".^[5] It was not considered derogatory to be called a concubina, as the title was often inscribed on tombstones.^[6]

A concubinus was a young male slave chosen by his master as a sexual partner. Romans did not mark same-sex relations as "homosexual" if an adult male used a slave or prostitute, characteristically a youth, as his passive partner (see Homosexuality in ancient Rome); these relations, however, were expected to play a secondary role to marriage, within which institution an adult male demonstrated his masculine authority as head of household (paterfamilias). In one of his wedding poems, Catullus (fl. mid-1st century BC) assumes that the young bridegroom has a concubinus who considers himself elevated above the other slaves, but who will be set aside as his master turns his attention to marriage and family life.^[7]

In the Bible[link]

Among the Israelites, men commonly acknowledged their concubines, and such women enjoyed the same rights in the house as legitimate wives.^[8] The principal difference in the Bible between a wife and a concubine is that wives had dowries, while concubines did not.

The concubine may have commanded the same respect and inviolability as the wife. The Hebrew word used in the Levitical rules on sexual relations, which is commonly translated as "wife", is distinct from the Hebrew word that means "concubine". (However, on at least one other occasion it is used to refer a woman who is not a wife - specifically, the handmaid of Jacob's wife.^[9]) In the Levitical code, sexual intercourse between a man and a wife of a different man was forbidden and punishable by death for both persons involved.^[10][11] The Bible notes several incidents of intercourse between a man and another man's concubine, and none of them result in capital punishment for either party,^[12][13][14] although the man to whom the concubine belonged was dishonored by such a relationship.^[8] For instance, David is portrayed as having been dishonoured when his concubines had a sexual relationship with his son Absalom.^[15] However, this instance is as likely dishonoring to David because it involves a form of incest, as David's concubines would have been somewhat like step-mothers to David's children.^[16]

Since it was regarded as the highest blessing to have many children, legitimate wives often gave their maids to their husbands to atone, at least in part, if they were barren, as in the cases of Sarah and Hagar, Rachel and Bilhah.^[8] The children of the concubine had equal rights with those of the legitimate wife;^[8] for example, King Abimelech was the son of Gideon and his concubine.^[17] Later^[8] biblical figures such as Gideon, David, and Solomon had concubines in addition to many childbearing wives. For example, the Books of Kings says that Solomon had 700 wives and 300 concubines.^[18]

In Judaism[link]

In Judaism, concubines are referred to by the Hebrew term pilegesh. The term is a non-Hebrew, non-Semitic loanword deriving from the Greek word pallakis, Greek παλλακίς,^[19][20][21] meaning a mistress staying in house. Or the Aramaic phrase palga isha, meaning half-wife.^{[citation needed]}

According to the Babylonian Talmud,^[22] the difference between a concubine and a full wife was that the latter received a marriage contract (Hebrew:ketubah) and her marriage (nissu'in) was preceded by a formal betrothal (erusin), neither being the case for a concubine. But, one opinion in the Jerusalem Talmud argues that the concubine should also receive a marriage contract, but without including a clause specifying a divorce settlement.^[8]

Certain Jewish thinkers, such as Maimonides, believed that concubines are strictly reserved for kings, and thus that a commoner may not have a concubine; indeed, such thinkers argued that commoners may not engage in any type of sexual relations outside of a marriage. Before Maimonides concluded this, Sunni Muslims officially prohibited mutah (i.e. temporary marriage) relationships; some commentators'^[who?] suggest that Maimonides changed his view in response to this development, similar to Gershom ben Judah's ban on polygamy being made after Christians had prohibited it.

Maimonides was not the first Jewish thinker to criticise concubinage; for example, it is severely condemned in Leviticus Rabbah.^[23] Other Jewish thinkers, such as Nahmanides, Samuel ben Uri Shraga Phoebus, and Jacob Emden, strongly object to the idea that concubines should be forbidden.

In the Hebrew of the contemporary State of Israel, the word pilegesh is often used as the equivalent of the English word mistress - i.e. the female partner in extramarital relations, even when these relations have no legal recognition. There are attempts to popularise pilegesh as a form of premarital, non-marital and extramarital relationships which (in their view) would be permitted by Jewish religious law.^[24][25][26]

In Ancient China[link]

A European painting of an Emperor of China inspecting his fantasy fishing fleet with his concubines

In Ancient China, successful men often supported several concubines – Chinese Emperors kept thousands.^[27] A concubine's treatment and situation were highly variable according to the social status of the male with whom she was engaged, as well as the attitude of the wife; the position of the concubine was generally inferior to that of the wife. Though a concubine could produce heirs, her children would be inferior in status to legitimate children. Concubines were allegedly, on occasion, buried alive with their masters to "keep them company in the afterlife."^[27]

Despite the limitations imposed on ancient Chinese concubines, history and literature have examples of concubines achieving great power and influence. For example, in one of the Four Great Classical Novels of China, The Dream of the Red Chamber (believed to be a semi-autobiographical account of author Cao Xueqin's own family life), three generations of the Jia family are supported by one favorite concubine of the Emperor.

Imperial concubines, kept by Emperors in the Forbidden City, were traditionally guarded by eunuchs to ensure that they could not be impregnated by anyone but the Emperor.^[27] Lady Yehenara, otherwise known as Dowager Empress Cixi, was arguably one of the most successful concubines in China’s history. Cixi first entered the court as a concubine to the Xianfeng Emperor and gave birth to his only surviving son, who would become the Tongzhi Emperor. She would eventually become the de facto ruler of the Manchu Qing Dynasty in China for 47 years after her son's death.^[28]

In Siam (Thailand)[link]

In Siam (today Thailand), men were permitted to have multiple wives, whom they could sell, as well as their children. The principal wife could only be divorced. If her husband died, she inherited the property rights to the secondary wives.^[29]

In Islamic theology[link]

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Women of the Harem by Jules Laurens, circa 1847

Scene from the Harem by Fernand Cormon

Islamic primary sources, the Quran and the Sunnah, declare concubinage permitted (Halal) under strict conditions. Chapter 4 (Sura-e-Nisa), verse 3 of the Quran^[30] states that a man may only be married to four women at the most, should he be able to treat them all fairly and equally. Islamic rights for concubines ensure fair treatment within the household and promise living expenses for concubines and their children. A Muslim man who could ensure equitable financial support among multiple spouses was allowed as many concubines as he pleased, in addition to the prescribed four wives.

Islam considers every human independent and free by birth (Deen-e-Fitrat).^[31] Islam considers concubinage acceptable as a social need, but only under certain guidelines. Children of concubines must be considered as legitimate as children born in wedlock. All children must receive living and education expenses till they become independent.

Modern women rarely wish to become concubines, therefore, debates about the rights of concubines are largely irrelevant. Chattel employment is currently regarded as highly inappropriate in Islam. Islam is criticized because, in the past, Islam permitted slavery and concubinage (Halal). It is therefore important to explore the reasoning for which Islam permitted concubinage through the historical evidences mentioning practices of Muhammad in this context.^{[citation needed]}

Two sources for concubines were permitted in an Islamic regime. Primarily, non-Muslim women taken as prisoners-of-war were made concubines. Islam forbade raping concubines captured in wars and encouraged a culture of keeping them in Muslim household where they could be motivated to embrace Islam without any coercion through affectionate and humanitarian treatment. Alternately, mutual agreement between a man and a woman could mold their relationship to concubinage because then it was an acceptable social practice. In Turkey, an odalisque could 'train' to become a concubine.

A drunken Persian prince assaults a Chinese maiden. Miniature from Gulistan of Sa'di. Herat, 1427

The Sunnah of reports that Muhammad had two or three concubines during his life. Umm-ul-Momineen (Mother of Muslims) Rehana was a prisoner of war that Muhammad kept for himself as a concubine without Nikkah (formal marriage bond in Islam) after the battle against tribe of Bani Qariza (Ghazwa-e-Bani Qariza). Umm-ul-Momineen (Mother of Muslims) Maria Qibtia is reported to be another concubine gifted to Muhammad by the King Maqooqas in response to his letter inviting him towards Islam. The King Maqooqas in response appreciated the invitation and gifted two concubines Maria Qibtia and her sister Sirin with two horses. Muhammad kept Umm-ul-Momineen (Mother of Muslims) Maria Qibtia for himself as concubine without Nikkah. Both Rehana and Maria Qibtia were granted equivalent status and protocol in form of prestigious Muslim household as were arranged for all other wives (Ummahat-ul-Momineen). It was the highest rank and protocol in the then society of Arab that a woman could have. It was a matter of great surprise for Arabs that same protocol had been awarded to a concubine (slave women) who was not in Nikkah as giving such prestigious protocol to a concubine was against their norms and traditions. Muhammad did so to set examples that Islam equates slaves with free human and accepts no discrimination of any kind like race, gender, region, religion etc. This measure of Muhammad was necessary to curb the cruel tradition in the then Arab society of misusing handmaiden as concubine for sexual pleasures and later refuting her due rights and that of her children. Muhammad promoted concubines Maria Qibtia and Rehana as Umm-ul-Momineen (Mother of all Muslims) awarding them same splendid household, rights, privileges, protocol and status as he had ensured for all other wives who belonged to reputed race, tribes and/or families. That is how Islam negated and discourgaed the unjust attitudes and customs against slaves and concubines.^{[citation needed]}

Muhammad and the concubine Maria Qibtia had a son, named Ibrahim. After the birth of Ibrahim, other wives of Muhammad alleged that Ibrahim was not his son, which proved not to be the case. As a result, Chapter 66 Sura-e-Tahreem of the Quran instructed Muhammad to divorce his wife for maliciously alleging a concubine Maria Qibtia. This is how, Islam set an example of equating a slave to free human where standards of justice demanded. Sura-e-Tahreem advised Muhammad to warn Ayesha Bint-e-Abu-Bakr not to commit jealousy against concubine Maria Qibtia in future. This measure of God (Allah) reinforced the significance of reserving and maintaining rights and equality for concubines in the then Arab society where earlier they were merely used for sexual pleasures without any social security and respect.^{[citation needed]}

The above mentioned reports^{[clarification needed]} are adopted from the authentic sources explaining Shia Islam,^[32][33][34] and Sunni Islam.,^[35][36][37]

In a legend shared with the Jewish tradition, Hajra (Hagar) was the 'handmaiden' of Prophet Abraham. At the directive of God/Allah, Prophet Abraham took Hagar as a concubine with the permission of his wife Sarah, who was infertile (according to Islamic sources^[38]). Hajra gave birth to Prophet Ismail, the forefather of Muhammad. Abraham indeed ensured due rights of his concubine and her son.

However, as per rules of Islamic Fiqas, Halal (permitted) from Muhammad cannot be altered by any authority or individual. Therefore, the concept of concubinage stands as permitted (Halal) although concubines are no longer permitted. Change of Islamic law is not possible, but were there a concubine in the modern era, she must be given all her due rights that Islam has preserved in the past. Hence, domestic and females employees working business are not concubines and sex is forbidden, unless Nikkah or Muta (Temporary Marriage Only Permissible in Shi'ism) is committed with mutual consent. Every adult and wise woman without husband although reserves the right to accept concubinage for her employer/master without any coercion or force, but Islamic scholars have consensus that for sex relations options of Nikkah and Muta should be adopted instead of concubinage in this era.^{[39][citation needed]}

Further, a true Islamic government reserves the right to restore and revive concubinage any time where it is considered beneficial for Islamic growth and expansion in wars against its enemies.^{[citation needed]}

In the United States[link]

Free woman of color with quadroon daughter; late 18th century collage painting, New Orleans.

When slavery became institutionalized in the North American colonies, white men, whether or not they were married, sometimes took enslaved women as concubines. Marriage between the races was prohibited by law in the colonies and the later United States. Many colonies and states also had laws against miscegenation, or any interracial relations, but the latter were generally ignored by white men^{[citation needed]}. From 1662 the Colony of Virginia, followed by others, incorporated into law that the children took their mother's status, by the principle of partus sequitur ventrem; all children born to enslaved mothers were born into slavery, regardless of their father's status or ancestry.^[40] This led to generations of mixed-race slaves, some who were otherwise considered legally white (1/8 or less African, equivalent to a great-grandparent) before the American Civil War.

In some cases, men had long-term relationships with enslaved women, giving them and their mixed-race children freedom and providing their children with apprenticeships, education and transfer of capital. In other cases, they did nothing for them except in a minor way. Such arrangements were more prevalent in the South during the antebellum years.

Historians widely believe that the widower Thomas Jefferson, both before and during his presidency of the United States in the early 19th century, had an intimate relationship of 38 years with his mixed-race slave Sally Hemings, in such an arrangement, and fathered all of her six children of record.^[41] He freed all four of her surviving children as they came of age; the Hemings were the only slave family to go free from Monticello. The children were 7/8 European in ancestry and legally white. Three entered the white community as adults. A 1998 DNA study showed a match between the Jefferson male line and a male descendant of Sally Hemings.^[41]

In Louisiana and former French territories, a formalized system of concubinage called placage developed. European men took enslaved or free women of color as mistresses after making arrangements to give them a dowry, house or other transfer of property, and sometimes, if they were enslaved, offering freedom and education for their children.^[42] A third class of free people of color developed, especially in New Orleans.^[42][43] Many became educated, artisans and property owners. French-speaking and practicing Catholics, who combined French and African-American culture, created an elite between the whites of European descent and the masses of slaves.^[42] Today descendants of the free people of color are generally called Louisiana Creole people.^[42]

See also[link]

References[link]

External links[link]

Look up concubine in Wiktionary, the free dictionary.

• Servile Concubinage

The Concubine is a deathcore band from Tabernacle Township, New Jersey. Formed in 2003, they have since toured with Knife the Glitter, Veil of Maya, Left to Vanish and other similar bands,^[1] and have been hailed on metal blogs as an up-and-coming metal band.^[2][3]

The group made their recording debut with a 2004 EP, Maestro, If You Will. Their first full-length album, Abaddon, received mixed reviews.^[4][5][6]

According to the band's Myspace,^[7] The Concubine has disbanded, citing "other interests and careers" as the reason for the break-up.

References[link]

External links[link]

• The Concubine's Official Site
• The Concubine's Purevolume
• The Concubine's Official Myspace

Seo Young-hee (Hangul:서영희 ) (born June 13 1980 ) is a South Korean actress who starred in The Chaser (2008) and Bedevilled (2010) in which she won best actress at the 8th Korean Film Awards when she played abused woman turned psychotic killer. in May 2011 she married her long-time boyfriend at Silla Hotel ^[1]

Movies[link]

Television series[link]

Awards[link]

External links[link]

• Seo Young-hee at the Internet Movie Database
• Seo Young-hee at HanCinema

References[link]

Alma Har'el is a music video and commercial director.

Har'el was born in Tel Aviv, where she began her film career as a video artist, mixing live video content for music concerts around Europe. After moving to the US she established herself as music video director, creating several critically acclaimed videos.^{[citation needed]} Her work with Zach Condon and the band Beirut resulted in the award winning music video for their single "Elephant Gun" which earned her a VMA nomination for best directorial debut. The video was chosen by Pitchfork.com as one of the Top 50 Music Videos for the year 2007^[1] and was on the Top 50 Videos of the Decade at Paste Magazine.^[2] Alma's other music videos include "Hidden Lakes" for Shearwater, "Clay Stones" for We Are The World, "Tonight's Today" for Jack Penate, "Harold T. Wilkins" for Fanfarlo and "Pa Bailar" for Bajofondo-Tango Club. Her music video for Jack Penate was nominated for a UK Music Video Award for Best Indy Rock Video.^{[citation needed]}

During the 2008 elections, Har'el worked to support the Obama presidential campaign by directing three TV spots starring Danny DeVito, Carl Reiner, Rhea Perlman, Larry Gelbart, Garry Marshal and Jerry Stiller. The ads were part of the "Aint Funny Campaign" that went on the air prior to the elections in 2008.

Alma is married to writer director Boaz Yakin and acted as co-producer and second unit director on his feature film "Death in Love".^[3] Alma recently finished "Bombay Beach",^[4] a documentary she shot and directed. It is described as "an unique combination of Cinema Verite, home videos and choreographed dance which tells the story of 3 characters. A highly imaginative 7 year old boy diagnosed with Bi-Polar disorder, A 16 year old African American aspiring football player who just moved to Bombay from South Central LA and a poetic 85 year old adventures-loner, trying to survive the desert heat. As the story unfolds we discover a spiritual bond, uniting them through their personal struggles, their imaginations and their love of the desert."^[5]

Filmography[link]

Music video[link]

Commercial[link]

Feature[link]

Awards[link]

MC Solaar
MC Solaar
Background information
Birth name	Claude M'Barali
Born	(1969-03-05) March 5, 1969 (age 43)
Origin	France, Chad, Senegal
Genres	French hip hop, jazz-rap, pop-rap
Years active	1990–present
Labels	Phonogram, Elektra

MC Solaar (born Claude M'Barali, March 5, 1969) is a francophone hip hop and rap artist. He is one of the most internationally popular and influential French rappers.^[1][2]

MC Solaar is known for his complex lyrics, which rely on word play, lyricism, and inquiry. In the English-speaking world, Solaar was signed by London acid jazz label Talkin' Loud and recorded with British group Urban Species and the late Guru, member of the acclaimed New York duo Gang Starr. He has since released seven studio records and one live album and currently lives with his wife, French actress Chloé Bensemoun, their son Roman and daughter Bonnie.

Biography[link]

Early life and debut[link]

Claude M'Barali was born in Dakar, Senegal to parents of Chadian origin. When he was six months old his parents emigrated to France where they eventually settled in the Paris suburb of Villeneuve-Saint-Georges. At age twelve he went to Egypt for nine months where he discovered the Zulu Nation and became fascinated with the rapping styles of Afrika Bambaataa.^[3] Upon his return he began to focus perhaps more on music but still studied enough to pass the baccalauréat. It has been said that his constant support from his mother was one of the reasons that he was able to pass the baccalauréat and still create music. He coined the stage name MC Solaar in his teens from his graffiti tags "SOAR" and "SOLAAR".^[1]

MC Solaar describes his early influences before a London gig in 2011, to radio producer Pete Shevlin.

He studied languages at the Jussieu university campus and was a post-graduate in philosophy.^[1] He released his first single in 1990. MC Solaar went to Paris in the summer of 1991 with his friend Jimmy Jay in hopes of succeeding in the music industry. Success came quickly when his first single, Bouge de là ("Move Out of My Way"), based on a sample from Cymande's song The Message (1973) became a hit in early 1990s. This song was all about brushing people to the side and not having time for them; this is evident in the lyrics, of which an excerpt follows (translated to English):

Directly I went to Lucy's
Who loves dogs, cats and TV pet's shows
She says 'Do you love beasts, you my super MC'
I said 'Yeah, lov'em, with salt and well cooked'
She said 'Move out my way'. ^[4]

Many rappers who came out of Africa at the time spoke a lot about slavery and other topics in order to bring the history of their people into light.^[5] Nevertheless, the song went platinum in France and ascended to number five on the national charts.

[edit] 1991–1997: Early success and Prose Combat breakthrough

After the success of Bouge de là, Solaar went on to support the famous American rap group De La Soul when they performed at the Olympia in Paris in September 1991. At the close of 1991 Solaar released Qui Sème le Vent Récolte le Tempo which went on to sell over 400,000 copies in France.^[1] With the success of his début album in France, the French rapper embarked upon extensive tours of Poland and Russia. In December 1992 he performed in twelve countries in West Africa, where his French rap style proved extremely popular with African music fans.^[6]

MC Solaar returned to the studio in 1994, recording the album Prose Combat. It sold 100,000 copies in the first week of its release and became a best seller in 20 other countries. He was rewarded for his efforts when in February 1995 he received an award for Best Male Singer of the Year at the 10th edition of the French "Victoires de la Musique" awards. Also in 1994, MC Solaar appeared on the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American community, was heralded as Album of the Year by Time.

Solaar went back to the studio in 1997 with longtime friend and producer Jimmy Jay to record his third album, Paradisiaque. The album was another success, which led to an extensive European tour starting on January 9 at the Zénith in Paris. His talents led to international interest from places such as Germany in Europe and all the way to Japan and the United States not long after. He was even included as a guest on American rapper Guru's "Jazzmatazz" project and one of his songs was included in the Tommy Boy rap compilation in the States.^[1]

Early on in MC Solaar's career it was important for him to share the struggles and the different hardships for Black people that migrated to France and tried to make a living. Most of his music was dedicated to enlightening the population of a specific deeper message that connected to him in his life. "...he addresses the conditions under which Black people have migrated to and settled in France. In the piece 'Leve-toi et rap,' he describes his Chadian parents' migration from Senegal to a Parisian suburb, the main stages of his teenage years and how he finally came to discover rap."^[5] In an interview MC Solaar described the feeling of making a song and the thought process while just writing any part of lyrics that go into his music. "I write quickly, because of the music, he tells me. It’s much easier if you have the music, the rhythm, but I am fast. First, I have taken in “everything.” Do you never write before the music? Ah. I used to, he admits. But when I met the music, I changed."^[2]

[edit] 1997–2003: Cinquième As and Mach 6

Solaar's career continued to evolve throughout the late nineties and into the new millennium. He released Cinquième As in 2001 to critical acclaim and Mach 6 in 2003. In the album's third track, "Lève-Toi et Rap", Solaar describes his parents' Chadian emigration as well as his own roots growing up in Villeneuve-Saint-Georges and Cairo.^[5] Towards the beginning of the song he says: Puis trip en Egypte, Ecole Française du Caire/ Pour parfaire mon flow et mon vocabulaire/ Là j'ai appris l'humilité, la peur des cartouches/ Pur style de sniper camouflage paw-mouche, which, translated, roughly means he spent time at a French school in Cairo, perfecting his rapping style and learning how to survive a dangerous lifestyle. Critic Dan Gennoe attests to Solaar's "flow et vocabulaire" by noting "the flow of his words is staggering, as are the low-slung grooves that they roll to; deftly vaulting all language barriers." ^[7]

The cover of Cinquieme As depicts Solaar topless, and draws comparisons to captives about to be taken onto a slave ship. However, a look at the inside cover reveals Solaar to be in a wrestler's costume, along with the other men in the picture.^[8] As Veronique Helenon discusses in her article concerning the French hip hop scene, references to Africa and "blackness" are a very important part of Solaar's music. Solaar recognizes and pays tribute to the African presence in France by using boxing and wrestling references. Senegalese boxer Battling Siki is referenced in the album's booklet. Although Siki won the light heavyweight boxing championship in 1922, he still faced racism from journalists.^[5] This image combined with songs concerning colonial oppression and the migration experience from Africa to France show Solaar's "blackness," something that is extremely important in France's hip hop scene. For example, in his song 'Les Colonies', Solaar discusses the similarities between the oppression of Africans by colonialists to the modern day exploitation of "third world" countries. "Cinquième As" includes lyrics in French, English, and Spanish, which represents his ideals that rap should be inclusive of all people.^[2]

[edit] 2004–Present: Chapitre 7 and international acclaim

"Da Vinci Claude", the first single from Solaar's album Chapitre 7, was launched in March 2007. The album was released June 18, 2007. In early 2004, his 2001 song "La Belle et Le Bad Boy" was featured on the final episode of the popular television series Sex and the City. The MTV series "The Hills" featured the song as well. MC Solaar is best known outside of France for his work on Guru's Jazzmatazz project and as a guest rapper on the Missy Elliott track "All N My Grill". Collaboration with Elliot propelled him to higher popularity in the American market. The single "Le Bien, Le Mal" (The Good, The Bad) has been a Hip Hop/Dance crossover hit and has received playtime on MTV, which characterizes his work this way: "His fluid phrasing makes up for his lack of English, and the production on his solo work (by DJ Jimmy Jay and Boom Bass of La Funk Mob) surpasses that of most of his hip-hop contemporaries."^[9]

MC Solaar is one of the few French rappers having success in the English-dominated American hip hop culture. Solaar has appeared in many Bollywood movies like Hum Tum. MC Solaar has released a few songs which never appeared on albums, including "Comme dans un film" (falsely known as "John Woo") and "Inch'Allah". He has criticized people for illegal downloading and producing altered versions of his albums Mach 6 and Chapitre 7.^{[citation needed]}

Personal life[link]

On December 7, 2003, MC Solaar married Chloé Bensemoun and on May 7, 2004, she gave birth to the couple's first child, Roman.^[6] In 2007, she gave birth to a girl named Bonnie.

Discography[link]

• Qui Sème le Vent Récolte le Tempo (1991)
• Prose Combat (1994)
• Paradisiaque (1997)
• MC Solaar (1998)
• Le Tour de la Question (2 CD) (1998)
• Cinquième As (2001)
• Mach 6 (2003)
• Chapitre 7 (2007)
• Magnum 567 (2011)

References and footnotes[link]