It was a Friday night, and like many, I was enjoying a casual car ride with friends, aux cord in hand. Eager to share a nostalgic favorite, I queued up “The Lion Sleeps Tonight” by The Tokens. For years, this song evoked lighthearted images of a dozing lion, a fun sing-along from childhood music classes. But as the familiar “a-weema-weh” echoed through the speakers, a disquieting feeling crept in. Were those catchy doo-wop phrases masking something more problematic? Was this beloved tune potentially steeped in cultural appropriation, or even something worse? Driven by this unease, I dove into some research.
Unearthing “Mbube”: The Original “Lion”
My digital digging revealed a startling truth: “The Lion Sleeps Tonight” was not born from the minds of 1960s American songwriters. Its origins trace back to 1939 South Africa, to a Zulu song titled “Mbube,” meaning “lion” in Zulu. The iconic “a-weema-weh” refrain, seemingly nonsensical in the Tokens’ rendition, is actually a playful take on the Zulu phrase “uyimbube,” which translates to “you are a lion.”
Alt text: A black and white portrait of Solomon Linda, the South African composer of Mbube, the original song of The Lion Sleeps Tonight.
“Mbube” was penned by Solomon Linda, a South African singer and composer, reflecting his childhood experiences herding cattle and warding off lions. You can listen to Solomon Linda’s original “Mbube” here to truly appreciate its raw and powerful sound: Original “Mbube” by Solomon Linda. This original version carries a depth and cultural significance entirely absent in the more widely known pop adaptation.
Apartheid’s Shadow and Stolen Royalties
The story of “Mbube” takes a darker turn when viewed through the lens of Apartheid-era South Africa. During this period of brutal racial segregation and oppression, Black South Africans faced systemic discrimination and limited rights, including in matters of intellectual property and financial compensation. Solomon Linda initially achieved some local success, selling around 100,000 copies of “Mbube.” However, in 1948, the year Apartheid officially began, he sold the rights to his song to a recording company for a mere pittance – reportedly less than two dollars.
Alt text: A black and white photograph of a sign in South Africa during Apartheid, reading “Whites Only” and “Net Blankes” indicating racial segregation.
Tragically, Solomon Linda died in poverty in 1962, just one year after The Tokens released their globally successful version of “The Lion Sleeps Tonight.” While The Tokens and subsequent artists amassed considerable wealth from this westernized interpretation, Solomon Linda and his family saw none of the royalties. He received no credit as the original composer, his contribution effectively erased from the mainstream narrative. It wasn’t until 2006, after decades of legal battles, that Linda’s family was finally granted a portion of the song’s royalties – a mere 25% – a stark reminder of the long shadow of exploitation. This information is corroborated by an NPR article from 2006 detailing this protracted legal fight and eventual settlement: NPR Article on Solomon Linda Royalties.
Postcolonialism and the Sinister Side of Cultural Appropriation
This story resonates deeply with postcolonial critiques. Apartheid itself is a direct consequence of colonial history, stemming from Dutch and British imperialism in South Africa, where white settlers imposed their cultural and political systems, leading to entrenched racial hierarchies. As Ania Loomba points out, the term “postcolonial” rings hollow for those still marginalized by economic disparities and the enduring legacies of colonization. Solomon Linda’s experience epitomizes this. What could be more economically disempowering than having your creative work stolen and profited from, while you and your family remain in poverty?
The Americanized “The Lion Sleeps Tonight” is a clear example of cultural appropriation. While not inherently “bad” in a musical sense, it represents a particularly insidious form of appropriation. When intellectual property and cultural expression are taken from a marginalized group, reworked, and then commercially exploited by a dominant culture, it perpetuates a cycle of capitalist imperialism. This is not just a historical issue from the 1960s; this pattern continues to manifest in various forms within our contemporary media landscape. Consider examples like the “Cash Me Outside” phenomenon – where individuals from marginalized backgrounds are often exploited for entertainment value without equitable compensation or respect for their cultural context.
Reconsidering Our Sing-Alongs
The next time you hear “The Lion Sleeps Tonight,” I urge you to remember Solomon Linda and the complex history embedded within this seemingly simple tune. Understanding the song’s true origins challenges us to be more critical consumers of media and to recognize the ongoing impact of colonial exploitation and cultural appropriation. Perhaps, by acknowledging this troubling truth, we can move towards a more equitable and respectful appreciation of cultural expression.
