Facebook’s Meta uses Dancehall sample ‘Under Mi Sleng Teng’ in new ad campaign – DancehallMag
Sleng Teng, the legendary dancehall riddim orchestrated by singer Wayne Smith for his hit song Under Mi Sleng Teng, was used by Meta, the new name for Facebook’s parent company, in its first video ad.
The use of the riddim comes via the British group SL2’s Path in my brain (1992), who sampled the Lloyd “King Jammy” produced by James Under Mi Sleng Teng (another name for a ganja joint invented by Smith). He appears in the last 12 seconds of the one-minute ad, which was released on Thursday. Watch it above.
Path in my brain peaked at No.26 in the UK Singles Rankings in 1992.
Smith’s “good now” lines from his song can be heard at the start of the sample, after which the Sleng teng riddim is heard for the rest of the Facebook / Meta ad, which sees a group of four young people looking at Henri Rousseau’s 1908 painting Fight between a tiger and a buffalo, during which the painting comes to life and the animals begin to speak.
The Sleng teng The feature was first reported to Dancehall fans by music producer ZJ Sparks on it Instagram pages Thursday.
Already Dancehall fans say they are hopeful Facebook has paid royalties to King Jammy and the family of the late Smith, who died aged 48 in February 2014, at Kingston Public Hospital after being killed. complained of stomach pain.
Smith, who later operated the Sleng Teng label, had passed away leaving behind five children and three grandchildren, his mother and five siblings.
Son of Waterhouse, he began his career in 1980 with King Jammy, who produced Under mi Sleng Teng four years later, which turned out to be Smith’s biggest hit, even becoming ranked in 2011, at number nine of Rolling Stone magazine 15 greatest stoner songs.
His other successes were There is no sense in saying goodbye and come.
Sleng teng is considered a pioneering riddim for the digital age of Dancehall, being among the first fully digitally produced riddims, for which no musicians were used to play instruments live in the studio.
The Sleng teng riddim is also one of the most re-recorded Jamaican riddims of all time, with over 350 songs played on it. In addition, being able to stroll the Sleng teng riddim is considered the stuff of which Dancehall’s greatest deejays are made.
Among the pillars of the deejay who have expressed themselves on versions of Sleng teng during its second wave in the 1990s were Bounty Killer with Lodge (aka Splurt) and Sir want to be, Anthem of Don by Alley Cat, Out of the air Bad Boy by Beenie Man, Pure sodom by Capleton, Don’t touch my baby by Junior Tucker and Hot like the sun by Lieutenant Stitchie.
Ninja Man also had four songs on Sleng Teng in the 1990s, including Murder Dem, Don Sound, Write your will and A sound of love.
In a 2011 article by veteran entertainment journalist Mel Cooke, published in The gleaner, Smith had explained how the Sleng teng it has been found.
He said Sleng teng riddim was composed by himself and musician Noel Davy “on a cheap Casiotone MT40 keyboard that Davy owned, and, although Davy is the most seasoned musician,” I showed him a few things. He can play better, but I have the ears â.
While playing with the device on a day when Davy was away, he pressed the button and beat, one of the preset rhythms on the instrument, which was then redesigned and recreated by himself, Davy and King Jammys and renamed Sleng teng, started to play.
Later he said after Davy pointed out to him that there were different patterns in which the rhythm could be played / designed, so he “put it on my drum pattern and key”, surprising Davy who asked him; “Where do you get it from?” ” when he came back.
After learning that Davy was rehearsing the riddim “with a man in the corner,” Smith quickly asked Davy to bring the keyboard to King Jammy’s studio it was connected to.
âI say Jammy is from England. Make us go dung deh, âSmith told Cooke.
âMe, I say Jammy’s, I have a beat on the keyboard. Told him okay, hang it on, âSmith added.
He said after transferring the work he had done on the riddim to the studio’s recording equipment, King Jammy added his own expertise by putting on “the clap”, while Davy “putting on the strum” .
With a riddim, but no backing song, as has been the case with many hit songs, Smith walked into the studio and improvised.
He sang with all his heart, spitting out lyrics, including the hook, “Under Me Sleng Teng” on the spot.
âIs this a catch. I never stop. All the lyrics I sing, I’ve never sung them before, âSmith told Cooke during the interview.
“After me, sing it, do I know what the term is.” I sing ‘look at me with eyes red as blood’. I say okay, a weed, âhe said, pointing out that at that point he had decided he would define Sleng Teng as ganja, similar to Barrington Levy’s. Under Mi Sensi.
Smith also told Cooke how he cried and pleaded with King Jammys after the affable producer asked the artists in the studio for advice on the newly recorded song and they rejected it, saying “it’s not not fair”.
âThe water in the eyes comes from one eye. Before going out, I run outside, take some water and wet my face. I go back to Jammy’s and say you don’t pay me, you don’t pay kids. You haven’t lost. Just turn it off, âhe relayed, after which Jammys promised he would release the song. “Tells him okay, he’s having a dance the same night.”
According to the article, Smith did not attend the session where his song debuted that night on King Jammy’s sound system, but the next morning he got up to find that the song was s was propelled to Dancehall glory, the overwhelming response resulting in Jammy officially releasing him and dozens of people, including the performers who had said it wasn’t good, lined up to talk about it.
âPeople come to wake me up one morning at 6 am. They say ‘Wayne, nothing more could play after they put Sleng Teng in,’ “he told Cooke.
Using Sleng teng, King Jammy then set the pattern for juggling riddims (i.e. a series of songs on one beat) in Jamaica, as other producers tried to make knock-off versions of the riddim.
“He says people are lining up to lick him and you know what I’m doing there?” I’m going to flood it, âSmith said.
King Jammy then embarked on a series of recordings, authorizing songs such as Call the police by John Wayne, Recycle bin and ready by Super Cat and Tenor Saw’s Pumpkin belly to be expressed on the riddim, in what Cooke described as the first wave.