Title: Makossa
Content:  Makossa is a Cameroonian style of urban music. Like much other late 20th century music of Sub-Saharan Africa, it uses strong electric bass rhythms and prominent brass. In the 1980s makossa had a wave of mainstream success across Africa and to a lesser extent abroad. Makossa, which means "(I) dance" in the Douala language, originated from a Douala dance called the kossa. Emmanuel Nelle Eyoum started using the refrain kossa kossa in his songs with his group "Los Calvinos". The style began to take shape in the 1950s though the first recordings were not seen until a decade later. There were artists such as Eboa Lotin, Misse Ngoh and especially Manu Dibango, who popularised makossa throughout the world with his song "Soul Makossa" in 1972. The chant from the song, mamako, mamasa, maka makossa, was later used by Michael Jackson in "Wanna Be Startin' Somethin'" in 1983. Many other performers followed suit. The 2010 World cup also brought makossa to the international stage as Shakira sampled the Golden Sounds popular song "Zamina mina (Zangalewa)". Makassi is a lighter style of makossa.
Title: Makossa
Content:  Later in the 1960s, modern makossa developed and became the most popular genre in Cameroon. Makossa is a type of funky dance music, best known outside Africa for Manu Dibango, whose 1972 single "Soul Makossa" was an international hit. Outside of Africa, Dibango and makossa were only briefly popular, but the genre has produced several Pan-African superstars through the 70s, 80s and 90s. Following Dibango, a wave of musicians electrified makossa in an attempt at making it more accessible outside of Cameroon. Another pop singer in 1970s Cameroon was André-Marie Tala, a blind singer who had a pair of hits with "Sikati" and "Potaksima". By the 1970s, bikutsi performers like Maurice Elanga, Les Veterans and Mbarga Soukous added brass instruments and found controversy over pornographic lyrics. Mama Ohandja also brought bikutsi to new audiences, especially in Europe. The following decade, however, saw Les Tetes Brulées surpass previous artists in international popularity, though their reaction at home was mixed. Many listeners did not like their mellow, almost easy listening-styled bikutsi. Cameroonian audiences preferred more roots-based performers like Jimmy Mvondo Mvelé and Uta Bella, both from Yaoundé.
Title: Makossa
Content:  as a reaction to the Cameroonian economic slump. Youthful artists like Gibraltar Drakuss, Zele le Bombardier, Eboue Chaleur, Pasto, Roger Bekono, Mbarga Soukous and Saint-Desiré Atango was a return to the aggressive, earthy sound of bikutsi roots. Meanwhile Henri Dikongué, whose music incorporated, amongst others, bikutsi and makossa, began to release albums which met international success. He went on to tour Europe and North America. The most recent form of Cameroonian popular music is a fusion of Congolese soukous and makossa, a scene which has produced Petit Pays, Marcel Bwanga, Kotto Bass, Papillon and Jean Pierre Essome. Other popular genres include tchamassi, mangambeu and makassi.
Title: Makossa
Content:  and diversity. Guitarist Zanzibar added foam rubber to the bridge of his guitar, which made the instrument sound more like a balafon than before, and was more aggressive and innovative than previous musicians. Les Têtes Brulées emerged as a reaction against pop-makossa, which was seen as abandoning its roots in favor of mainstream success. The band's image was part of its success, and they became known for their shaved heads and multi-colored body painting, done to represent traditional Beti scarification, as well as torn T-shirts that implied a common folkness in contrast to the well-styled pop-makossa performers of the period. They also 
Title: Makossa
Content:  In the 1990s, both makossa and bikutsi declined in popularity as a new wave of genres entered mainstream audiences. These included Congolese-influenced new rumba and makossa-soukous, as well as more native forms like bantowbol, northern Cameroonian nganja (which had gained some popularity in the United Kingdom in the mid-80s) and an urban street music called bend-skin. Les Têtes Brulées remained the country's most well known musical export, especially after accompanying the Cameroonian soccer team to the World Cup in 1990 in Italy and 1994 in the United States. A new wave of bikutsi artists arose in the early 1990s, including Les Martiens (formed by Les Têtes 
Title: Makossa
Content:  By the 1980s, makossa had moved to Paris and formed a new pop-makossa that fused the fast tempo zouk style popularized by Kassav from the French Caribbean. Prominent musicians from this period included Moni Bilé, Douleur, Bébé Manga, Ben Decca, Petit-Pays, and Esa. The 80s also saw rapid development of Cameroon's media which saw a flourishing of both makossa and bikutsi. In 1980, L'Equipe Nationale de Makossa was formed, joining the biggest makossa stars of the period together, including Grace Decca, Ndedi Eyango, Ben Decca, Guy Lobe and Dina Bell. Makossa in the 80s saw a wave of mainstream success across Africa 
Title: Music of Cameroon
Content:  Later in the 1960s, modern makossa developed and became the most popular genre in Cameroon. Makossa is a type of funky dance music, best known outside Africa for Manu Dibango, whose 1972 single "Soul Makossa" was an international hit. Outside of Africa, Dibango and makossa were only briefly popular, but the genre has produced several pan-African superstars through the 1970s, 1980s and 1990s. Following Dibango, a wave of musicians electrified makossa in an attempt at making it more accessible outside of Cameroon. Another pop singer in 1970s Cameroon was André-Marie Tala, a blind singer who had a pair of hits with "Sikati" and "Potaksima." By the 1970s, bikutsi performers like Maurice Elanga, Les Veterans, and Mbarga Soukous, added brass instruments and found controversy over pornographic lyrics. Mama Ohandja also brought bikutsi to new audiences, especially in Europe. The following decade, however, saw Les Tetes Brulées surpass previous artists in international popularity though their reaction at home was mixed. Many listeners did not like their mellow, almost easy listening-styled bikutsi. Cameroonian audiences preferred more roots-based performers like Jimmy Mvondo Mvelé and Uta Bella, both from Yaoundé.
Title: Makossa
Content:  to a lesser degree, abroad, as Latin influences, French Antilles zouk, and pop music changed its form. While makossa enjoyed international renown, bikutsi was often denigrated as the music of savages and it did not appeal across ethnic lines and into urban areas. Musicians continued to add innovations, however, and improved recording techniques; Nkondo Si Tony, for example, added keyboards and synthesizers, while Elanga Maurice added brass instruments. Les Veterans emerged as the most famous bikutsi group in the 80s, while other prominent performers included Titans de Sangmelima, Seba Georges, Ange Ebogo Emerent, Otheo and Mekongo President, who added complex harmonies and 
Title: Music of Cameroon
Content:  By the 1980s, makossa had moved to Paris and a new pop-makossa fused elements of Antillean zouk. Prominent musicians from this period included Moni Bilé, Douleur, Bébé Manga,, Petit-Pays, and Esa. The 1980s also saw rapid development of Cameroon's media which saw a flourishing of both makossa and bikutsi. In 1980, L'Equipe Nationale de Makossa was formed, joining the biggest makossa stars of the period together, including, Grace Decca, Ndedi Eyango, Ben Decca, Guy Lobe, and Dina Bell. Makossa in the 1980s saw a wave of mainstream success across Africa and, to a lesser degree, abroad as Latin influences, Martinican zouk, and pop music changed its form. While makossa enjoyed international renown, bikutsi was often denigrated as the music of savages, and it did 
Title: Makoa
Content:  The rap group Makoa claims to valorize an "Afro-Malagasy" identity associated with the Makoa people. Although the members of the group are not themselves Makoa by ethnicity, the popularity of the group and its inclusive message has contributed to rehabilitating the image of the Makoa in the popular imagination.

Question: Verify the following claims with "True" or "False": Do you know that Makossa is not a fusion genre of Pop Rock.
Answer: True