By Tejumola Olaniyan
"Olaniyan has given us a profound and wonderfully built-in e-book which culminates in a persuasive interpretation of the connection among Fela’s it sounds as if incompatible presentational selves.... The book’s available and evocative prose is in itself a type of homage to Fela’s continuous skill to seduce and astonish.... this is often such an enticing e-book you're feeling like... ransacking your assortment for Fela tapes." —Karin Barber
"... an necessary significant other to Fela’s song and a wealthy resource of knowledge for stories in smooth African well known music." —Akin Euba
Arrest the track! is a full of life musical examine of Fela Anikulapo-Kuti, one among Africa’s such a lot recognizable, renowned, and arguable musicians. the fancy originator of the "Afrobeat" sound and self-proclaimed voice of the unvoiced, Fela used track, sharp-tongued lyrics, and derisive humor to problem the shortcomings of Nigerian and postcolonial African states. taking a look at the social context, instrumentation, lyrics, visible artwork, humans, and firms by which Fela produced his song, Tejumola Olaniyan deals a much wider, extra suggestive viewpoint on Fela and his effect on listeners in all elements of the realm.
Placing Fela entrance and heart, Olaniyan underscores very important social concerns equivalent to authenticity, racial and cultural identification, the connection of pop culture to radical politics, and the that means of postcolonialism, nationalism, and globalism in modern Africa. Readers attracted to tune, tradition, society, and politics, whether they comprehend Fela and his tune, will locate this paintings useful for knowing the occupation of an African big name and the politics of pop culture in modern Africa.
African Expressive Cultures—Patrick McNaughton, common editor
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Additional info for Arrest The Music!: Fela and His Rebel Art and Politics (African Expressive Cultures)
But Fela was imaginative, committed, and professional enough to invent a musical form ahead of its time and stand by it against all odds. His determination alone shows that although he was sure of where he was going, he could not master the confounding twists and turns and thickets on the road at the time. Today, neither the history of the evolution of African highlife nor that of the global appropriation of jazz would be complete without an account of Fela’s impressive avant-garde labors. The “Apolitical” Hustler Years ago, I delivered a conference paper that became the nucleus of this chapter.
Here was a true story, about a man! ’ I wanted to be like Malcolm X! . I wanted to be Malcolm X, you know. I was so unhappy that this man was killed. 21 The Autobiography is a gripping, expansive chronicle of the uplifting transformation of Malcolm from a life of petty thievery and hustling to that of a spiritual leader and internationally recognized political spokesperson of the AfricanAmerican struggle against racism and for equality. Whether as a minister of the racialist and religious organization, the Nation of Islam, or later as the head of his own more secular Organization of Afro-American Unity, his whole public life is articulated in The Autobiography as a polemical counterdiscourse to the prevailing Euro-American hegemony characterized by racial apartheid and all the imaginable inequities that attend it.
Then I started to write and write. In my mind I put a bass here . . a piano there. . Then I started humming, then singing. I said to myself, “How do Africans sing songs? They sing with chants. ”29 He thus created a new musical aesthetic which the “afrobeat” name he had invented a year earlier would more properly describe: a fusion of indigenous Yoruba rhythms and declamatory chants, highlife, jazz, and the funky soul of James Brown. His ¤rst composition was titled “My Lady Frustration,” dedicated to Sandra for the strain he and his band had placed on her and on her family’s resources, running up phone bills without recompense because he could not get rewarding engagements in Los Angeles nightclubs.