#daguy

[soulmusicsongs]

Dag Dagui - Mazouni (Fariza / Dag Dagui, 1973)

[nightgarla]

bwah random sibling designs for daguys (suka and tori'a who i havent posted yet) my sister said suki should have 3 siblinsg 2 brothers and a sister but idk if i can draw that many cats honestly

[444names]

world countries + american forenames

Aacque Aarlebby Aartielay Albarnonn Alberinige Alberria Alfren Aliamy Allydia Allyn Alpher Alucilace Alvian Amarl Ambil Amensthle Ancessie Andraisty Andregoldi Andrel Aneigh Annatterra Annicath Anter Anuatro Apolis Arathel Aresovia Arshle Arvia Auline Bahris Baryannet Baryle Becia Bella Berick Beris Berla Berry Bertrathy Bhuthia Bildredia Bobbillene Bobbis Bonga Bouguat Bricar Brietty Brinn Brisalisa Bulie Bulingera Calan Calind Carde Cargie Caric Carly Caroya Cattie Changor Chatie Chrialada Cinicia Cisey Cliba Clizab Coberiangie Codne Colaite Corobel Couis Crafasha Cranlebon Critne Crola Cuand Cynda Czecton D'iva Dacell Dagne Daguy Dandana Darle Darlyn Deannissie Dearosonie Desia Diteroly Dommi Donacecia Dorea-bique Dorosey Dovandy Dovie Dwarie Dwistin Eanniam Echri Edgenthaney Edrestine Elbertacky Equelin Errya Esotte Eughan Eulil Eundro Felinetchra Fingo Flois Florazann Florey Fraquel Fredwil Fredwindix Fritterthan Galeend Ganne Genice Geonique Geredne Geriete Geris Gernanda Gerry Gerton Gland Gleene Glends Gor-lernia Goregor Greanua Greateron Groon Guaric Gueli Haelie Hanceycey Harait Hareddia Harent Harmann Heliene Hellaus Hellice Hellomarl Herbel Herly Holanya Howarrie Hunier Huria Icheillawna Irafren Irencelia Irgie Iricamon Iscily Jacoma Jacque Jaind Jamill Jamyanya Jandia Jandy Japalie Jasey Javetha Jeandren Jeann Jeatand Jeffell Jefferta Jeffor Jefinda Jeney Jenrithaele Jerondy Jesieline Jesloly Jestanie Jesti Jibabevalte Jibia Jikelly Jillica Joanda Jodnathunie Jodnee Johallis Johan Johnn Johnna Johnnetteva Johnnia Jonna Joren Joriamau Josca Joshertoyd Josie Juandriscan Juank Juathon Julial Julipe Julis Karettermau Karleene Karya Katen Kathark Kathon Kattan Kayssicarl Kazegren Kazil Kazilaul Kelia Kelleney Kente Keycharry Kinda Kistisra Koranda Koristis Kosheridita Krasomerd Krianda Kricton Krictor Krinanla Krioloydia Kritnet Kurinie Kurtim Kuwarge Lando Lanie Laniftoy Lanthance Latel Lelaran Lesia Lessa Leste Litine Lixie Lizann Lliber Loldrey Lomelia Lored Loria Lorie Loronya Lorwazan Loutallip Loutine Luperry Maguan Malasoley Malia Malie Malize Malla Mandanya Mandredone Mangent Maniecili Maraq Marced Marine Maristinet Marmallyn Maron Marray Matium Matrianda Matricey Mauda Maulia Maurtifri Mellawn Mered Merna Misie Moniet Monighae Monio Monya Morahanna Morda Moricarace Mormabony Moroccante Namoth Nelie Nestifforg Nezuelyn Nitris Norellyn Norgameg Nortie Olaurk Paicton Pakimela Pakirent Pakisyra Pakity Pambia Paminez Panda Parve Pathurkel Pattim Patvinata Paudie Paulianne Pedgam Peghae Penna Poree Portne Portune Qatellen Racey Rafgh Raithandra Ralley Razecubya Razere Razil Ressanna Rinevend Roanda Robarna Robbis Rolarren Rolatacque Rolatan Romelleall Ronighan Rooke Rosaymorild Rostandon Rotsyrae Roxana Rucel Runda Runes Runia Rusie Rwaystina Sabis Sable Saithrisey Salben Salgary Sambil Sambit Sandaijango Sanesloista Sanne Saosa Seangie Semace Sephian Shawille Sheandroxan Sheles Sheli Sheristas Sielip Solourmara Somel Soneandy Sonew Sonjaven Sovindia Sravisa Stamell Stannez Stemyrgel Styrice Sudia Suelia Suellarly Surictorthy Sustica Sustie Suzbelordo Swith Syleinar Syrosove Tance Tanlette Tannala Tannez Tannya Tarrayn Telsemoneg Tembeline Thadoldia Thath Thrill Thugle Thylvivan Tinaosti Toiri Tomarus Trasepalu Tugari Turidgerie Turta Ughte Ukrith Unine Vakisarcill Valuist Vandannei Vantogo Vellenn Vennalarcur Verma Vetthawin Vialysidne Vidgene Vindsamina Vinisterta Vistat Waitandy Waray Warla Wayemori Wigharley Wigua Wiguan Wilin Yvonsta Zilta

[fatelvisgoods]

Check out this listing I just added to my Poshmark closet: Funko Pop! Movies - Valerian : Doghan Daguis- Vinyl Figure.

[genderlessjacky]

that aint dagur thats daguy

You know, when I first saw Dagur’s Rob/Dob design, I really wondered what Dagur's hair under his helmet looked like. And then the show gave me this gem.

(Picture is from my TV so that’s why it looks like shit)

I think I had to pause the episode the first time I watched it, because I was laughing so hard. Like look at him. I expected him to have some hair outside of the ponytail, but no. I showed it to my mom and she shares my sentiment. My father said that he looks confused. He's so pathetic in this scene, it's so funny. I'm laughing as I'm writing this.

[roksim]

Stompos!!!!!

Hey guys!! I think I'm getting sorta excited to continue finishing up my game! This is just a lil fanart, to get into it!

[vertical-captures]

[soulmusicsongs]

Soul Around the World in 24 tracks

Soul music became popular around the world, influencing countless artists across the world. We’ve put together a list with awesome soul tracks form Africa, Asia, Europa and Latin America.

Bechayane Tegodahu - Alemayehu Eshete (Bechayane Tegodahu / Teredechewalehu, 1971) - Ethiopia

Boogie Fever - Geraldo Pino (Boogie Fever, 1978) - Nigeria

Country Scenes - Golden Hands (Golden Hands,1978) - Marocco

Crashes In Love - William Onyeabor (Crashes In Love, 1977) - Nigeria

Dag Dagui - Mazouni (Fariza / Dag Dagui, 1973) - Algeria

Haka Dunia - Orchestre Abass (Operation Bye Bye / Haka Dunia, 1972) - Togo

Hari Siva - Ramasandiran Somusundaram (Skinny Woman, 1974) - India

Hipguard - Acid (Hipguard / Freedom Lover, 1972) - Austria

Jungle Soul - ORF Big Band, Johannes Fehring & The Chicks (ORF Big Band, Johannes Fehring & The Chicks, 1972) - Austria

Love Is Fair - Black Children Sledge Funk Group (Love Is Fair, 1976) - Nigeria

Marabayasa - Rail Band (Rail Band, 1973) - Mali

Melissa - Oscar Rocchi e il suo Modern Sound (Erbe Selvatiche, 1977) - Italy

Message From A Black Man - Derrick Harriott & The Crystalites (Psychedelic Train 1970) - Jamaica

Miri Magnin - Keletigui & Ses Tambourinis (Miri Magnin / Marie, 1973) - Guinea

Mona Ami Kibala - Ruy Mingas (Angola Canções Por Rui Mingas, 1970) - Angola

No One Else (But Me) - Rock Town Express ( Rock Town Express, 1974) - Nigeria

Pula Yetla - Letta Mbulu (Letta Mbulu Sings, 1967) - South Africa

Roots Talk - Mabrak (Ital Talk - Liquid Talk, 1976) - Jamaica

Shmasha - Kamal Keila (Muslims and Christians, 2018) - Sudan

Soy Muy Feliz = I Got You - Los Tamara (A Santiago Voy / Soy Muy Feliz, 1967) - Spain

Use Me - The Outfit (Use Me / Stop The World, 1974) - Barbados

Wayakangai - Camayenne Sofa (A Grands Pas, 1983) - Guinea

Words To My Song - Dry Bread (Yamar / Words To My Song, 1974) - Bahamas

Zina - Ouiness (Bahebek Mara / Zina, 1979) - Marocco

More Soul Around The World

Soul Around The World

Soul Around The World in 34 songs

Soul Around The World in 27 Songs

Soul Around the World in 20 tracks

Soul Around The World in 22 tracks

Soul Around The World in 33 songs

Soul Around The World in 20 tracks

[quarkmaster]

Doghan Daguis (Valerian et la cité des mille planètes )

Work in Zbruh,rendering Keyshot,compositing Photoshop)

pascal sguera

[lechehueso-blog]

#SwellRepass #daguys #logame #MJ #BSN (at 2622 West Jackson) https://www.instagram.com/p/BzfzrTlH7MD/?igshid=r2g47b0g4iog

[remygunz]

@bmagic302 @swearv_fatkidd @remygunz #daguys #delaware #wilmington #kings 🤴 👑 https://www.instagram.com/p/By3u79yFWMS/?igshid=7mmrlhhik9u2

[valerianmovie]

Need some information about the City of a Thousand Planets? The Doghan Daguis are your go to source. #Valerian #TBT

[unclecrungle]

Been playing one of my all time favorite childhood games with daguy and he’s been quoting the same npc gibberish that me and my best friend used to quote when we were little my heart is so full

[themovieaffection]

Doghan- Dagui (1): We know how humans work.  Doghan- Dagui (2): They are all so predictable. Laureline: Clearly, you have never met a woman.

Doghan-Dagui [Robbie Rist and Christopher Swindle] and Sergeant Laureline [Cara Delevingne] Valerian and the City of a Thousand Planets (2017)

[roksim]

DaGuy Game????

Hey folks! I've figured out what my next game would be, if I were to make it! I know how it'd go and how I'd do it, but currently, only this little drawing here exists of it, because I want to do some other stuff first, such as finishing some animations! How do you like the title??

[berlysbandcamp]

Mazouni - A Dandy In Exile - 1969/1982

1958, in the middle of the liberation war. While the rattle of machine guns could be heard in the maquis, in the city, the population listened at low volume to Algerian patriotic songs broadcast by the powerful Egyptian radio: "The Voice of the Arabs". These artists all belonged to a troupe created by the self-proclaimed management of the National Liberation Front (FLN), based in Tunis and claiming to gather a "representative" sample of the Algerian musical movement of the time.

1960, cafe terraces were crowded and glasses of anisette kept coming with metronomic regularity, despite the alarming music of police sirens heard at intervals and the silhouettes of soldiers marching in the streets. The mood was good, united by a tune escaping from everywhere: balconies, where laundry was finishing drying, windows wide open from apartments or restaurants serving the famous Algiers shrimps along with copious rosé wine. Couples spontaneously joined the party upon hearing "Ya Mustafa", punctuated by improvised choirs screaming "Chérie je t’aime, chérie je t’adore". The song, as played by Sétif-born Alberto Staïffi, was a phenomenal success, to the point that even FLN fighters adopted it unanimously. Hence an unfortunate misunderstanding that would trick colonial authorities into believing Mustafa was an ode to the glory of Fellaghas. 

1961, Cheikh Raymond Leyris, a Jewish grand master of ma’luf (one of Algeria’s three Andalusian waves) who was Enrico Macias’ professor, was killed in Constantine, making him the first victim of a terrorist wave that would catch up with Algeria at the dawn of the 1990s by attacking anything that thought, wrote or sang.

Mohamed Mazouni, born January 4, 1940 in Blida – “The City of Roses" both known for its beautiful ‘Blueberry Square’ (saht ettout) in the middle of which a majestic bandstand took center stage, and its brothels – had just turned twenty. He was rather handsome and his memory dragged around a lot of catchy refrains by Rabah Driassa and Abderrahmane Aziz, also natives of Blida, or by 'asri (modern music) masters Bentir or Lamari. He would make good use of all these influences and many others stemming from the Algerian heritage. The young Mohamed was certainly aware of his vocal limits, as he used to underline them: "I had a small voice, I came to terms with it!". But it didn’t lack charm nor authenticity, and it was to improve with age. He began his singing career in those years, chosing bedoui as a style (a Saharan genre popularized among others by the great Khelifi Ahmed). 

1962, the last French soldiers were preparing their pack. A jubilant crowd was proclaiming its joy of an independent Algeria. Remembering the impact of popular music to galvanize the "working classes", the new authorities in office rewarded the former members of the FLN troupe by appointing them at the head of national orchestras. In widespread euphoria, the government encouraged odes to the recovered independence, and refrains to the glory of "restored dignity" sprung from everywhere. Abderrahmane Aziz, a star of 'asri (Algiers’ yé-yé) was a favorite with Mabrouk Alik ("Congratulations, Mohamed / Algeria came back to you"); Blaoui Houari, a precursor of Raï music, praised the courage of Zabana the hero; Kamel Hamadi recalled in Kabyle the experience of Amirouche the chahid (martyr), and even the venerable Remitti had her own song for the Children of Algeria. All this under the benevolent eye (and ear) of the regime led by Ahmed Ben Bella, the herald of the single party and vigilant guardian of the "Arab-Islamic values" established as a code of conduct. Singers were praised the Egyptian model, as well as Andalusian art intended for a nascent petty bourgeoisie and decreed a "national classic"; some did not hesitate to sell out. These Khobzists – an Algerian humorous term mocking those who put “putting-food-on-the-table” reasons forward to justify their allegiance to the system – were to monopolize all programs and stages, while on the fringes, popular music settled for animating wedding or circumcision celebrations. Its absence in the media further strengthened its regionalization: each genre (chaâbi, chaouï, Kabyle, Oranian...) stayed confined within its local boundaries, and its "national representatives" were those whose tunes didn’t bother anyone. The first criticisms would emanate from France, where many Algerian artists went to tackle other styles. During the Kabyle-expression time slot on Radio Paris, Slimane Azem – once accused of "collaboration" – sang, evoking animals, the first political lines denouncing the dictatorship and preconceived thinking prevailing in his country. The reaction was swift: under pressure from the Algerian government, the Kabyle minute was cancelled. Even in Algeria, Ahmed Baghdadi aka Saber, an idol for fans of Raï music (still called "Oranian folklore"), was imprisoned for denouncing the bureaucracy of El Khedma (work).

For his part, Mazouni was to be noticed through a very committed song: Rebtouh Fel Mechnak (“They tied him to the guillotine”). But above all, the general public discovered him through a performance at the Ibn Khaldoun Theater (formerly Pierre Bordes Theater, in the heart of Algiers), broadcast by the Algerian Radio Broadcasting, later renamed ENTV. This would enable him to integrate the Algerian National Theater’s artistic troupe. Then, to pay tribute to independence, he sang “Farewell France, Hello Algeria”. 1965: Boumediene's coup only made matters worse. Algeria adopted a Soviet-style profile where everything was planned, even music. Associations devoted to Arab-Andalusian music proliferated and some sycophantic music movement emerged, in charge of spreading the message about "fundamental options". Not so far from the real-fake lyricism epitomized by Djamel Amrani, the poet who evoked a “woman as beautiful as a self-managed farm". The power glorified itself through cultural weeks abroad or official events, summoning troubadours rallied to its cause. On the other hand, popular music kept surviving through wedding, banquets and 45s recorded for private companies, undergoing censorship and increased surveillance from the military.

As for Mazouni, he followed his path, recording a few popular tunes, but he also was in the mood for traveling beyond the Mediterranean: "In 1969 I left Algeria to settle in France. I wanted to get a change of air, to discover new artistic worlds". He, then, had no idea that he was about to become an idolized star within the immigrant community. During the 1950s and 1960s, when parents were hugging the walls, almost apologizing for existing, a few Maghrebi artists assumed Western names to hide their origins. This was the case of Laïd Hamani, an Algerian from Kabylia, better known as Victor Leed, a rocker from the Golf Drouot’s heyday, or of Moroccan Berber Abdelghafour Mociane, the self-proclaimed “Vigon”, a hack of a r&b voice. Others, far more numerous, made careers in the shadow of cafes run by their compatriots, performing on makeshift stages: a few chairs around a table with two or three microphones on it, with terrible feedback occasionally interfering. Their names were Ahmed Wahby or Dahmane El Harrachi. Between the Bastille, Nation, Saint-Michel, Belleville and Barbès districts, an exclusively communitarian, generally male audience previously informed by a few words written on a slate, came to applaud the announced singers. It happened on Friday and Saturday nights, plus on extra Sunday afternoons.

In a nostalgia-clouded atmosphere heated by draft beers, customers – from this isolated population, a part of the French people nevertheless – hung on the words of these musicians who resembled them so much. Like many of them, they worked hard all week, impatiently waiting for the weekend to get intoxicated with some tunes from the village. Sometimes, they spent Saturday afternoons at movie theaters such as the Delta or the Louxor, with extra mini-concerts during intermissions, dreaming, eyes open, to the sound of Abdel Halim Hafez’ voice whispering melancholic songs or Indian laments made in Bombay on full screen. And the radio or records were also there for people to be touched to the rhythm of Oum Kalsoum’s songs, and scopitones as well to watch one’s favorite star’s videos again and again.

Dumbfounded, Mohamed received this atmosphere of culture of exile and much more in the face. Fully immersed in it, he soaked up the songs of Dahmane El Harrachi (the creator of Ya Rayah), Slimane Azem, Akli Yahiaten or Cheikh El Hasnaoui, but also those from the crazy years of twist and rock’n’roll as embodied by Johnny Hallyday, Les Chaussettes Noires or Les Chats Sauvages, not to mention Elvis Presley and the triumphant beginnings of Anglo-Saxon pop music. Between 1970 and 1990, he had a series of hits such bearing such titles as “Miniskirt”, “Darling Lady”, “20 years in France”, “Faded Blue”, Clichy, Daag Dagui, “Comrade”, “Tell me it’s not true” or “I’m the Chaoui”, some kind of unifying anthem for all regions of Algeria, as he explained: "I sang for people who, like me, experienced exile. I was and have always remained very attached to my country, Algeria. To me, it’s not about people from Constantine, Oran or Algiers, it’s just about Algerians. I sing in classical or dialectal Arabic as much as in French and Kabyle”.

Mazouni, a dandy shattered by his century and always all spruced up who barely performed on stage, had greatly benefited from the impact of scopitones, the ancestors of music videos – those image and sound machines inevitably found in many bars held by immigrants. His strength lay in Arabic lyrics all his compatriots could understand, and catchy melodies accompanied by violin, goblet drum, qanun, tar (a small tambourine with jingles), lute, and sometimes electric guitar on yé-yé compositions. Like a politician, Mazouni drew on all themes knowing that he would nail it each time. This earned him the nickname "Polaroid singer" – let’s add "kaleidoscope" to it. Both a conformist (his lectures on infidelity or mixed-race marriage) and disturbing singer (his lyrics about the agitation upon seeing a mini-skirt or being on the make in high school…), Mohamed Mazouni crossed the 1960s and 1970s with his dark humor and unifying mix of local styles. Besides his trivial topics, he also denounced racism and the appalling condition of immigrant workers. However, his way of telling of high school girls, cars and pleasure places earned him the favors of France’s young migrant zazous.

But by casting his net too wide, he made a mistake in 1991, during the interactive Gulf War, supporting Saddam Hussein’s position through his provocative title Zadam Ya Saddam (“Go Saddam”). He was banned from residing in France for five years, only returning in 2013 for a concert at the Arab World Institute where he appeared dressed as the Bedouin of his beginnings.

At the end of the 1990s, the very wide distribution of Michèle Collery and Anaïs Prosaïc's documentary on Arabic and Berber scopitones, highlighted Mazouni’s important role, giving new impetus to his career.  

Living in Algeria, Mohamed Mazouni did not stop singing and even had a few local hits, always driven by a “wide targeting” ambition. This compilation, the first one dedicated to him, includes all of his never-reissued “hits” with, as a bonus, unobtainable songs such as L’amour Maâk, Bleu Délavé or Daag Dagui.