By Tejumola Olaniyan
"Olaniyan has given us a profound and wonderfully built-in booklet which culminates in a persuasive interpretation of the connection among Fela’s it appears incompatible presentational selves.... The book’s obtainable and evocative prose is in itself one of those homage to Fela’s continuous skill to seduce and astonish.... this is often such an enticing booklet you are feeling like... ransacking your assortment for Fela tapes." —Karin Barber
"... an critical better half to Fela’s track and a wealthy resource of knowledge for experiences in smooth African well known music." —Akin Euba
Arrest the tune! is a full of life musical examine of Fela Anikulapo-Kuti, one in every of Africa’s such a lot recognizable, renowned, and arguable musicians. the flowery 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 companies wherein Fela produced his track, Tejumola Olaniyan deals a much wider, extra suggestive point of view on Fela and his influence on listeners in all components of the area.
Placing Fela entrance and heart, Olaniyan underscores vital social matters equivalent to authenticity, racial and cultural id, the connection of pop culture to radical politics, and the that means of postcolonialism, nationalism, and globalism in modern Africa. Readers drawn to track, tradition, society, and politics, whether they comprehend Fela and his tune, will locate this paintings necessary for figuring out the occupation of an African big name and the politics of pop culture in modern Africa.
African Expressive Cultures—Patrick McNaughton, normal editor
Read or Download Arrest The Music!: Fela and His Rebel Art and Politics (African Expressive Cultures) PDF
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Extra resources for Arrest The Music!: Fela and His Rebel Art and Politics (African Expressive Cultures)
But even in that direction, our conclusion is the same: in relation to highlife, highlife jazz, in the elitism of the content and form of its instrumentals and the vacuous form and sexist and masculinist content of the lyrics—though highlife was this too—can only be regarded as politically conservative, this time by commission rather than omission. It was not just in his music that Fela was at this period doing something con22 Arrest the Music! founding and untraditional. His notoriety as a “rascal” began to blossom into the image of a social rebel, the jazzy boy of highlife.
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.
Omo pupa o, omo pupa lemi nfe Omo pupa o, jowo ko feran mi o Ti m’ba de London Ma wa f ’owo oko ranse Omo pupa o, jowo ko b’oko de o Light-complexioned woman, I love you Light-complexioned woman, please love me When I get to London I will send you the passage fare Light-complexioned woman, please come One can clearly discern here Fela’s transformation of the conventional threepart division: instrumentation and vocals, an extended middle instrumental section, and ¤nally instrumentation and vocals.
Arrest The Music!: Fela and His Rebel Art and Politics (African Expressive Cultures) by Tejumola Olaniyan
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