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 appears incompatible presentational selves.... The book’s available and evocative prose is in itself one of those homage to Fela’s continuous skill to seduce and astonish.... this can be such an enticing ebook you are feeling like... ransacking your assortment for Fela tapes." —Karin Barber
"... an fundamental better half to Fela’s tune and a wealthy resource of knowledge for reviews in glossy African renowned music." —Akin Euba
Arrest the track! is a full of life musical learn of Fela Anikulapo-Kuti, considered one of 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 tune, 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 agencies by which Fela produced his song, Tejumola Olaniyan bargains a much wider, extra suggestive standpoint on Fela and his influence on listeners in all components of the area.
Placing Fela entrance and middle, Olaniyan underscores very important social concerns corresponding 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 understand Fela and his tune, will locate this paintings priceless for knowing the occupation of an African celebrity and the politics of pop culture in modern Africa.
African Expressive Cultures—Patrick McNaughton, normal editor
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Extra resources for Arrest The Music!: Fela and His Rebel Art and Politics (African Expressive Cultures)
Fela was positively awed by America—and New York in particular—especially its evident technological sophistication and its apparent social and institutional orderliness. His immediate response was to compare New York to the jumble of postcolonial Lagos. And, of course, the latter came out woefully inadequate: “I said to myself: ‘Fuck! Look those motherfucking tall buildings! Africans ain’t shit! Just savages, man! ”9 Part of his wonder appears to be about what in the world could account for the gigantic disparity in living standards when both places existed in the same historical time.
It was no surprise that the song was a sensation. The architecture of afrobeat as a distinctive genre of music was complete. “Jeun Ko Ku” was the ¤rst critical milestone in the ¤ve years from 1970 to 1975 which I have labeled Fela’s second stage of artistic and ideological growth. Immensely productive, he released nearly ¤fty songs in the period. I have di36 Arrest the Music! vided these into three main types based on their subject: metro songs, racial/ cultural nationalist songs, and appropriated folk songs.
25 In an era of black unfreedom, he plucked freedom for himself and lived it so his people could borrow his example. 26 Malcolm X toured Egypt, Sudan, Nigeria, and Ghana in 1959. And after his resignation from the Nation of Islam in 1964, he made his well-publicized pilgrimage to Mecca and traveled to several African countries. ” Fela, the apolitical highlife jazz musician in Lagos, had missed all of that, of course. But better late than never: The Afrobeat Moralist 31 he now learned from Malcolm’s story—his third lesson—what he could have learned earlier from Malcolm in person in Nigeria: the signi¤cance, indeed the necessity, of advocating and cultivating pan-African political and cultural relations and unity.