Noyon Judo club Director Takes Aim at Municipal Spending with Catchy Rap
Noyon Judo Club Director Blames Lack of Lighting and Malfunctioning Cameras”>Michel Lebrun, the technical director of the Noyon Judo Club, is known for his dedication to the sport and his sharp wit. While he’s shaped generations of judokas, it’s his vocal critiques of the Noyon municipal majority that have truly made him a local figure.
Lebrun, who performs under the moniker “Tonton Chelmi,” recently released a new rap track titled ”Subventions du bled,” a playful twist on the 1999 hip-hop hit “Tonton du bled” by 113. This latest musical salvo directly targets Mayor Sandrine dauchelle and her deputies, accusing them of mismanagement that has led to budget cuts impacting local clubs.
This isn’t Lebrun’s frist foray into musical protest. He’s previously used parodies of popular songs like Claude François’ “Lâche la moula” and Francis Cabrel’s “Je l’aime à mourir” to highlight his concerns. His ”Sandrine gives us back the money” track, for example, garnered significant attention online.Lebrun leverages these viral musical parodies to announce upcoming demonstrations. Since the summer, he’s organized three such events, including the association festival and a protest during the October municipal council meeting. Another demonstration is scheduled for this saturday, culminating in a march from Place Saint-Jacques to Chevalet square, where the mayor will deliver a greeting ceremony that has drawn criticism.
Lebrun’s lyrics are filled with pointed observations about the city’s financial situation. In one especially striking line, he laments, “There are some who don’t stop eating, thay continue to receive their compensation,” alluding to the perceived disconnect between the city officials and the struggles faced by residents and local organizations.
The upcoming demonstration is expected to draw a large crowd, with Lebrun encouraging residents to join him in demanding greater transparency and accountability from the municipal government.The event highlights the growing frustration among Noyon residents who feel their voices are not being heard.
Noyon’s “Subventions du Bled” Takes Center Stage in Upcoming parade
The residents of Noyon are gearing up for their first parade of 2025, and anticipation is high.With just hours to go, locals are busy memorizing the lyrics to the satirical anthem “Subventions du Bled,” a song that has sparked intense debate.
The song’s pointed lyrics directly address elected officials, criticizing their spending habits and perceived disconnect from the community’s needs. One verse, aimed at the deputies, laments the lack of resources while highlighting the perceived extravagance of certain individuals: “There’s no more sorrel, no more money to spend, don’t worry about everyone, there are some who won’t stop eating, they continue to receive their compensation, to bail themselves out they know how to sell our real estate.”
This year’s procession promises a diverse musical lineup. Alongside the now-iconic ”Dauchelle synchro” (“La Dodo, la Chauchelle, la Dauchelle-Chelle!”), attendees can expect to hear renditions of “Let me dream,” a Dalida cover, and “my name is Didier,” a playful tribute to deputy Didier Payen set to a Balavoine melody.Adding to the excitement, renowned artist Michel Lebrun is rumored to be making a surprise appearance at the Porquéricourt Concert Night Festival, which coincides with the parade. The free event kicks off at 4 p.m. on Saturday, january 11th at Place Saint-Jacques.
the satirical spirit of the parade is further exemplified by the catchy refrain from another popular song:
“I wanted to receive the subsidies, the mayor told me “lé, lé la””
“In that case I’m going to do the little credits “lé, lé la””
“It’s already been ten weeks as you promised “lé, lé la””
“So actually we won’t touch ‘wah, wah, wah'”
This playful yet pointed commentary reflects the community’s desire for transparency and accountability from their elected officials.
Judo Master’s Rhythmic Protest: Is This the Future of Community Activism?
Michel Lebrun, better known as “Tonton Chelmi” in the Noyon Judo community, has once again grabbed headlines, not for his Jiu-Jitsu prowess, but for his unique brand of political commentary delivered through infectious rap. His latest track, “Subventions du bled,” a clever adaptation of the iconic 1999 hip-hop anthem “Tonton du bled,” directly challenges Mayor Sandrine Dauchelle and her management, accusing them of budgetary mismanagement that has negatively impacted local clubs like his own.
This isn’t Lebrun’s first time leveraging the power of music to amplify his concerns. A veteran of crafting satirical musical parodies, he has previously targeted local government policies through his own renditions of popular tracks like Claude François’ ”Lâche la moula” and Francis Cabrel’s “Je l’aime à mourir.” these musical protests have garnered notable online attention, effectively serving as a virtual rallying cry, mobilizing supporters and announcing planned demonstrations.
Lebrun’s willingness to utilize a creative and unconventional platform to voice his concerns begs the question: is this the future of community activism? While customary methods of protest continue to hold their place, the rise of social media and the accessibility of creative tools like music production software empower individuals like Lebrun to reach broader audiences and engage with their communities in novel and captivating ways.
Lebrun’s actions raise valuable points for discussion:
Effectiveness: Does his unorthodox approach genuinely influence policy decisions or is it primarily a form of cathartic expression? Analyzing the impact of his protests on budgetary changes, public opinion, and governmental responsiveness will shed light on the effectiveness of this tactic.
Accessibility: Does lebrun’s unique approach to activism democratize political engagement, making it more accessible to individuals who may not traditionally feel comfortable with traditional protest methods?
* Sustainability: Can this style of activism maintain its momentum and engagement in the long term, or is it simply a fleeting trend? Evaluating the longevity of Lebrun’s impact on the Noyon Judo Club and its community will be crucial in understanding the sustainability of this approach.
While Lebrun’s musical protests may not offer concrete solutions to complex budgetary problems, they serve as a powerful reminder of the importance of civic engagement and the creative ways in which individuals can make their voices heard. The ripples of “Tonton Chelmi’s” rhymes extend far beyond the tatami mats of the Noyon Judo Club, prompting a broader conversation about the evolving landscape of community activism.
