How a NYC Bilingual Latin Groove Shaped the Dance Floors in Europe but not in the US: The Story of Coati Mundi’s 'Que Pasa/Me No Pop I'
The Twelve Inch 149 : Que Pasa Que Pasa/Me No Pop I (Kid Creole & Coconuts present Coati Mundi)
Disco’s Afterlife: A Teen’s Discovery in 1981 Antwerp
By 1981, disco’s golden age was in my rearview mirror. I was 18, young, dumb and full of… I was living in the suburbs of Antwerp, Belgium, and nightlife was my raison d'être. My weekends were a chaotic mix of DJing local parties and immersing myself in the cutting-edge sounds of the time. While Flemish radio was uninteresting, Radio Cité, a French-speaking weekend broadcast, was a lifeline. Founded by Marc Moulin of Telex fame, it brought an eclectic mix of music genres from the UK and New York. One of their featured acts, Kid Creole & The Coconuts, immediately captured my heart.
Their best album. A must have !
Kid Creole’s debut album, Off the Coast of Me (1980), was my constant soundtrack, followed by Fresh Fruit in Foreign Places (1981) my favorite 1981 album. Yet, the track that propelled them into European stardom wasn’t even theirs. It was the whimsical, genre-defying "Que Pasa/Me No Pop I," by their eccentric band member, Coati Mundi. Let’s dive into the unique journey of this hit and its creator.
Welcome, I’m Pe Dupre and this is “The Twelve Inch”, a newsletter that tells the history of dance music between 1975 and 1995, one twelve inch at a time.
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Coati Mundi: From Spanish Harlem to Center Stage
Born Andy Hernandez in Spanish Harlem, Coati Mundi’s musical journey was as vibrant as his stage persona. Raised in a Puerto Rican household, he absorbed Latin rhythms while soaking in the cultural melting pot of New York City. From jazz to salsa, punk to disco, Mundi’s influences were as eclectic as the city itself.
Initially dabbling in acting and street performances, he crossed paths with August Darnell (Kid Creole), who saw in Mundi the raw talent and charisma to match his theatrical vision. Playing the vibraphone and marimba, Mundi became a key player in Kid Creole’s world after their time in Dr. Buzzard’s Original Savannah Band.
The name "Coati Mundi" was inspired by a mammal of the raccoon family, native to Central and South America. Mundi joked, “The animals stole that name from me.”
The “real one” 😃
The Birth of "Que Pasa/Me No Pop I"
By 1980, Kid Creole & The Coconuts had established themselves as a flamboyant, genre-blending act. When "Que Pasa/Me No Pop I" was recorded, it was strategically released under the "Kid Creole & The Coconuts Presents" banner to leverage the band’s growing reputation. The song was originally released in 1980 on Antilles Records before being re-released on ZE/Island.
NYC’s Melting Pot of Sound
New York’s late ’70s music scene was a melting pot of innovation. Disco, punk, salsa, and early hip-hop thrived side by side, giving rise to iconic acts like Talking Heads, Blondie, and Grandmaster Flash. Kid Creole & The Coconuts embodied this spirit of boundary-pushing creativity.
One of the first dance floor hits of Kid Creole & the Coconuts. It’s a fun take on the hyped importance of Studio 54 and the fact that the real fun was happening elsewhere. “The dj, he don’t even play the B 52’s”… 😃
The genesis of “Que Pasa/Me No Pop I” lies in this dynamic cultural mix, paired with Coati Mundi’s unmistakable humor. The title itself, blending English and Spanish, highlights Mundi’s bilingual roots and reflects the linguistic versatility of New York’s Latin community.
This track isn’t lighthearted fun for children—it’s a biting, comedic takedown of Mundi’s deceitful ex-girlfriend who gave him VD. Laced with sharp humor, he raps about her flaws, calling her “uglier than an ulcer” and accusing her of “intellectual constipation.” He mocks her love, describing it as lingering like “dandruff and pollution”, and someone who snacks on “number two.” 💩, while a shrill female chorus delivers the unforgettable line: “Me no Popeye, you no Olive Oyl.” Clearly, there’s no love lost here.
Image quality aside this is one of the finest unscripted video’s of the time.
Unlike the socially conscious lyrics of Grandmaster Flash & Melle Mel, “Que Pasa/Me No Pop I” is unapologetically wacky party music. Departing from the urban beats and techniques of hip-hop—like mixing, breakbeats, and scratching—this track is a warped rumba Latin jive with a hefty dose of rap. Its rhythm leans heavily on late ’70s tropical disco, but Mundi’s spirited delivery and whimsical arrangement make it entirely unique. Drawing from the improvisational flair of street performers and the surreal humor of vaudeville, Mundi created a song that defied conventions and brought an unmistakable energy to the dance floor.
Why Was There No Direct Follow-Up?
Despite its cult success, “Que Pasa/Me No Pop I” never launched Coati Mundi into a full-fledged solo career. This wasn’t due to a lack of effort but rather a matter of timing and shifting musical trends.
By the early ’80s, disco’s golden age was fading in the U.S., and record labels were increasingly reluctant to back experimental artists like Mundi. Additionally, his commitment to the Kid Creole & The Coconuts collective meant his energy was primarily channeled into the group’s success, leaving limited room for solo pursuits.
Tracks like “Me No Pop I” embodied the “mutant” sound that ZE Records was renowned for. Mundi’s work with the Kid Creole crew showcased his offbeat Latin Pop sensibilities, and his collaborations with acts like space disco pioneer Cristina and the Aural Exciters proved his creativity extended far beyond the group. However, as with many acts led by a dominant marquee figure, there was only so much spotlight he could—or was allowed to—claim for himself within the Kid Creole universe.
Why the Song Didn’t Soar in the U.S.
Despite its cult following in Europe, "Que Pasa/Me No Pop I" failed to gain traction in the U.S. Several factors contributed to this:
Disco Backlash: By 1980, the "Disco Sucks" movement had dampened the popularity of dance in the States.
Niche Appeal: The track’s quirky, bilingual nature and composition was too unconventional for mainstream U.S. audiences (or dance floors for that matter)
Lack of Promotion: RCA, ZE Records’ U.S. distributor, deemed the song “too obscure” and failed to market it effectively.
Why Was Kid Creole & The Coconuts More Successful Outside the U.S.?
While Kid Creole & The Coconuts struggled to find success in the U.S., they became bona fide stars in Europe. Their theatrical performances and genre-defying sound struck a chord with European audiences, who were more receptive to experimental acts. A significant factor in their overseas success was ZE Records’ distribution deal with Island Records. Island, impressed by the group’s early songs, fully believed in their potential and invested effort into promoting them in the territories where they released.
However, the lack of recognition in their home country remained a sore point. Reflecting on this frustration, Coati Mundi shared: What is so difficult about it that we can’t get over in the US. We had a good product and we were entertaining. The music wasn’t ‘pop’ Top 40, but it wasn’t that inaccessible. We weren’t from Mars! It was tough and it was tiring. Eventually it got to me after ten years. It was too much.
Coati Mundi: The Larger-Than-Life Entertainer
Mundi’s stage presence was unforgettable. Reflecting on his style, he said: I was always a ham, which came from me just trying to entertain my aunts and uncles. I could never just do something simple. I could never just play the instrument. I could never keep still. If I played a note, I had to dance to that note, I had to make a face. I couldn’t just play the music. I wanted to show off.”
He remained loyal to Kid Creole & The Coconuts, contributing to their landmark album Tropical Gangsters. He also dabbled in acting, appearing in Miami Vice, Spike Lee films, and Madonna’s Who’s That Girl. Despite these ventures, Mundi never achieved the solo stardom he deserved.
Legacy and Rediscovery
Decades later, Mundi’s work has experienced a resurgence thanks to reissues and streaming platforms. Tracks like "Que Pasa/Me No Pop I" continue to intrigue new generations, their playful, genre-defying nature offering a refreshing alternative to mainstream music. Mundi still performs occasionally, keeping his legacy alive for those willing to dig a little deeper. Do check out his hilarious Youtube page
A Call to Action
Did you know “Que Pasa/Me No Pop I”? Or any of the other Kid Creole & the Coconuts songs? Did it make you laugh, dance, or both? Share your thoughts in the comments and join us next week for more behind-the-scenes stories of music’s hidden gems. Don’t forget to subscribe and share. Or forward it to the friend you know is interested in the subject I weekly write about: the history of dance music!
Further reading (or should I say watching)
There are a number of interesting video’s/links :
The official video : this is one of the finest examples of an unscripted video 😁
So You Wanna Hear More ?
I thought you would !
It’s fun to write about music but let’s be honest. Music is made to listen to.
Every week, together with this newsletter, I release a 1 hour beatmix on Mixcloud and Soundcloud. I start with the discussed twelve inch and follow up with 10/15 songs from the same timeframe/genre. The ideal soundtrack for…. Well whatever you like to do when you listen to dance music.
So what’s in this week’s mix ?
This week’s mix is truly eclectic—a blend that closely mirrors the sets I played in the early eighties. It’s a mix of New Wave, No Wave, Post-Disco, early Synth Pop, New Romantics, and early Rap. In short, it’s a reflection of the melting pot that made the early eighties such an exciting and dynamic time for music.
We kick off with the full 12-inch version of Coati Mundi, seamlessly transitioning into Stool Pigeon by Kid Creole & The Coconuts—one of their early hits that borrowed heavily from the style of Me No Pop I. From there, we move into tracks by The Police and various iterations of Talking Heads, both of whom incorporated rhythmic experimentation that made their early eighties releases irresistibly danceable and staples in my sets.
The second half of the mix leans into early Synth Pop, featuring Blancmange, Ministry, and Pete Shelley. One of the ultimate dance floor favorites of the time was Coitus Interruptus by Fad Gadget, a track we all knew the lyrics to by heart. To close things out, we finish with Peter Godwin and Ronnie, the Belgian femme fatale who only released a handful of singles but became a Rusty Egan favorite, frequently heard on the dance floor of The Blitz.
Enjoy !
Next week, I’ll dive into the early days of disco and share the story behind one of the hits that cemented Tom Moulton’s status as a legend.
Kid Creole and the Coconuts were hugely fashionable in the UK in the early 1980s, with plenty of help, as you rightly point out, from the marketing department at Island Records. Can I just put a word in for the Coconuts. They were superbly choreographed by the joint creator of K C and the C, Adriana Kaegi, and even recorded their own album Don't Take My Coconuts in 1983 with Cheryl Poirer as lead vocalist. There's a clip on Youtube of Annie I'm Not Your Daddy from the main British pop show of the time, Top of the Pops, which largely thanks to the Coconuts is one of my favourite performances from the programme, on a par with Wham's debut Wham Rap! in 1983 (it also features plenty of Coati Mundi hamming it up).
This was so good. I loved reading about your raving days. I was also a raver in my younger years. Now in my 30s, I keep my raving nights to a few times a year only... for old times' sake (and a planned detox the next day 🤣).
I knew Cherchez la Femme because they mention Mottola who, as you know, was Mariah's mentor and husband in the early 90s.
I didn't know "Que Pasa", though. I liked it. It's quite infectious. I'm of Latin origins myself so there's that connection for me as well. However, in my humble opinion, it's a song that could work universally. Interesting that it didn't take off in the US, but the reasons you outline make a lot of sense (especially if it was a little bit of everything combined, as is often the case).
On a separate but related note, someday I'd love to read your perspective on the disco backlash, if you're ever interested in covering the topic. You might think it's too basic, with your knowledge, but for the non-experts like me, there are a lot of things we don't know other than there was a backlash at some point but not a lot more than that. I, for one, would love to read about it from your perspective.
Happy weekend!