Fela Kuti
From Wikipedia, the free encyclopedia
| Fela Kuti | |
|---|---|
| Birth name | Olufela Olusegun Oludotun Ransome-Kuti |
| Also known as | Fela Anikulapo Kuti Fela Ransome-Kuti |
| Born | 15 October 1938 |
| Origin | Abeokuta, Nigeria |
| Died | 2 August 1997 (aged 58) |
| Genre(s) | Afrobeat |
| Occupation(s) | Singer-songwriter Instrumentalist, activist |
| Instrument(s) | Saxophone Vocals Keyboards Trumpet Guitar Drums |
| Years active | 1958 –1997 |
| Label(s) | Barclay/PolyGram Records Barclay/Universal Records Barclay/MCA/Universal Records  Shanachie Records Celluloid Records EMI Records Nigeria  JVC Records  Wrasse Records  |
| Associated acts | Africa '70 Egypt 80 Koola Lobitos Nigeria ’70 Ginger Baker Tony Allen Femi Kuti Seun Kuti Roy Ayers |
| Website | felaproject.net |
Fela Anikulapo Kuti (15 October, 1938 – 2 August, 1997), or simply Fela, was a Nigerian multi-instrumentalist musician and composer, pioneer of afrobeat music, human rights activist, and political maverick.
HMV ranked him #46 on a list of the top-100 most influential musicians of the 20th century.[1]
Contents |
[edit] Biography
Fela was born Olufela Olusegun Oludotun Ransome-Kuti in Abeokuta, Ogun State, Nigeria,[2] to a middle-class family. His mother, Funmilayo Ransome-Kuti, the first Nigerian female to drive a car, was a feminist activist in the anti-colonial movement and his father, Reverend Israel Oludotun Ransome-Kuti, a Protestant minister and school principal, was the first president of the Nigerian Union of Teachers. His brothers, Dr. Beko Ransome-Kuti and Olikoye Ransome-Kuti both medical doctors, are well known in Nigeria.
Fela was sent to London in 1958 to study medicine but decided to study music instead at the Trinity College of Music. While there he formed the band Koola Lobitos, playing a style of music that he would later call afrobeat. The style was a fusion of African jazz and funk with West African highlife. In 1961, Fela married his first wife, Remilekun (Remi) Taylor, with whom he would have three children (Femi, Yeni, and Sola). In 1963, Fela moved back to Nigeria, re-formed Koola Lobitos and trained as a radio producer for the Nigerian Broadcasting Corporation. In 1969, Fela took the band to the United States. While there, Fela discovered the Black Power movement through Sandra Smith (now Isidore)—a partisan of the Black Panther Party—which would heavily influence his music and political views and renamed the band Nigeria ’70. Soon, the Immigration and Naturalization Service was tipped off by a promoter that Fela and his band were in the US without work permits. The band then performed a quick recording session in Los Angeles that would later be released as The ’69 Los Angeles Sessions.
Fela and his band, renamed Africa '70, returned to Nigeria. He then formed the Kalakuta Republic, a commune, a recording studio, and a home for many connected to the band that he later declared independent from the Nigerian state. Fela set up a nightclub in the Empire Hotel, named the Afro-Spot and then the Afrika Shrine, where he performed regularly. Fela also changed his middle name to Anikulapo (meaning "he who carries death in his pouch"),[3] stating that his original middle name of Ransome was a slave name. The recordings continued, and the music became more politically motivated. Fela's music became very popular among the Nigerian public and Africans in general. In fact, he made the decision to sing in Pidgin English so that his music could be enjoyed by individuals all over Africa, where the local languages spoken are very diverse and numerous. As popular as Fela's music had become in Nigeria and elsewhere, it was also very unpopular with the ruling government, and raids on the Kalakuta Republic were frequent. During 1972 Ginger Baker recorded Stratavarious with Fela appearing alongside Bobby Gass.[4] In 1974 the police arrived with a search warrant and a cannabis joint, which they had intended to plant on Fela. He became wise to this and swallowed the joint. In response, the police took him into custody and waited to examine his feces. Fela enlisted the help of his prison mates and gave the police someone else's feces, and Fela was freed. He then recounted this tale in his release Expensive Shit.
In 1977 Fela and the Afrika ’70 released the hit album Zombie, a scathing attack on Nigerian soldiers using the zombie metaphor to describe the methods of the Nigerian military. The album was a smash hit with the people and infuriated the government, setting off a vicious attack against the Kalakuta Republic, during which one thousand soldiers attacked the commune. Fela was severely beaten, and his elderly mother was thrown from a window, causing fatal injuries. The Kalakuta Republic was burned, and Fela's studio, instruments, and master tapes were destroyed. Fela claimed that he would have been killed if it were not for the intervention of a commanding officer as he was being beaten. Fela's response to the attack was to deliver his mother's coffin to the main army barrack in Lagos and write two songs, "Coffin for Head of State" and "Unknown Soldier," referencing the official inquiry that claimed the commune had been destroyed by an unknown soldier.
Fela and his band then took residence in Crossroads Hotel as the Shrine had been destroyed along with his commune. In 1978 Fela married 27 women, many of whom were his dancers, composers, and singers to mark the anniversary of the attack on the Kalakuta Republic. Later, he was to adopt a rotation system of keeping only twelve simultaneous wives.[5] The year was also marked by two notorious concerts, the first in Accra in which riots broke out during the song "Zombie," which led to Fela being banned from entering Ghana. The second was at the Berlin Jazz Festival after which most of Fela's musicians deserted him, due to rumors that Fela was planning to use the entirety of the proceeds to fund his presidential campaign.
Despite the massive setbacks, Fela was determined to come back. He formed his own political party, which he called Movement of the People. In 1979 he put himself forward for President in Nigeria's first elections for more than a decade but his candidature was refused. At this time, Fela created a new band called Egypt 80 and continued to record albums and tour the country. He further infuriated the political establishment by dropping the names of ITT vice-president Moshood Abiola and then General Olusegun Obasanjo at the end of a hot-selling 25-minute political screed titled "I.T.T. (International Thief-Thief)."
In 1984, he was again attacked by the Military government, who jailed him on a dubious charge of currency smuggling. His case was taken up by several human-rights groups, and after 20 months, he was released from prison by General Ibrahim Babangida. On his release he divorced his 12 remaining wives, saying that "marriage brings jealousy and selfishness."[5] Once again, Fela continued to release albums with Egypt 80, made a number of successful tours of the United States and Europe and also continued to be politically active. In 1986, Fela performed in Giants Stadium in New Jersey as part of the Amnesty International Conspiracy of Hope concert, sharing the bill with Bono, Carlos Santana, and the Neville Brothers. In 1989, Fela & Egypt 80 released the anti-apartheid "Beasts of No Nation" album that depicts on its cover U.S. President Ronald Reagan, UK Prime Minister Margaret Thatcher and South African Prime Minister P.W. Botha with fangs dripping blood.
His album output slowed in the 1990s, and eventually he stopped releasing albums altogether. The battle against military corruption in Nigeria was taking its toll, especially during the rise of dictator Sani Abacha. Rumors were also spreading that he was suffering from an illness for which he was refusing treatment. On 3 August 1997, Olikoye Ransome-Kuti, already a prominent AIDS activist and former Minister of Health, stunned the nation by announcing his younger brother's death a day earlier from Kaposi's sarcoma brought on by AIDS. (Their younger brother Beko was in jail at this time at the hand of Abacha for political activity). More than a million people attended Fela's funeral at the site of the old Shrine compound. A new Africa Shrine has opened since Fela's death in a different section of Lagos under the supervision of his son Femi Kuti.
[edit] Music
The musical style performed by Fela Kuti is called Afrobeat, which is essentially a fusion of jazz, funk, psychedelic rock, and traditional West African chants and rhythms. It is characterized by having African-style percussion, vocals, and musical structure, along with jazzy, funky horn sections. The endless groove is also used, in which a base rhythm of drums, shekere, muted guitar, and bass guitar are repeated throughout the song. His band was notable for featuring two baritone saxophones, whereas most groups using this instrument only use one. This is a common technique in African and African-influenced musical styles, and can be seen in funk and hip-hop. Some elements often present in Fela's music are the call-and-response within the chorus and figurative but simple lyrics. Fela's songs were almost always over 10 minutes in length, some reaching the 20- or even 30-minute marks, while some unreleased tracks would last up to 45 minutes when performed live. This was one of many reasons that his music never reached a substantial degree of popularity outside of Africa. His songs were mostly sung in Nigerian pidgin, although he also performed a few songs in the Yoruba language. Fela's main instruments were the saxophone and the keyboards, but he also played the trumpet, guitar, and took the occasional drum solo. Fela refused to perform songs again after he had already recorded them, which also hindered his popularity outside Africa. Fela was known for his showmanship, and his concerts were often quite outlandish and wild. He referred to his stage act as the Underground Spiritual Game. Fela attempted making a movie but lost all the materials to the fire that was set to his house by the military government in power.
[edit] Political views
The American Black Power movement influenced Fela's political views. He was also a supporter of Pan-Africanism and socialism, and called for a united, democratic African republic. He was a fierce supporter of human rights, and many of his songs are direct attacks against dictatorships, specifically the militaristic governments of Nigeria in the 1970s and 1980s. He was also a social commentator, and he criticized his fellow Africans (especially the upper class) for betraying traditional African culture. The African culture he believed in also included having many wives (polygyny) and the Kalakuta Republic was formed in part as a polygamist colony. He defended his stance on polygyny with the words "A man goes for many women in the first place. Like in Europe, when a man is married, when the wife is sleeping, he goes out and fucks around. He should bring the women in the house, man, to live with him, and stop running around the streets!"[6] His views towards women are characterised by some as misogynist, with songs like "Mattress" typically cited as evidence[7] In a more complex example, he mocks the aspiration of African women to European standards of ladyhood while extolling the values of the market woman in his song "Lady." It should be noted, though, that Fela was very open when it came to sex, as he portrayed in some of his songs, such as "Open and Close" and "Na Poi."
[edit] Chief Priest Say
Bypassing editorial censorship in Nigeria's predominantly state controlled press, Kuti began in the 1970s buying advertising space in daily and weekly newspapers such as The Daily Times and The Punch in order to run outspoken political columns.[8] Published throughout the 1970s and early 1980s under the title Chief Priest Say, these columns were essentially extensions of Kuti's famous Yabi Sessions—consciousness-raising word-sound rituals, with himself as chief priest, conducted at his Lagos nightclub. Organized around a militantly Afrocentric rendering of history and the essence of black beauty, Chief Priest Say focused on the role of cultural hegemony in the continuing subjugation of Africans. Kuti addressed a number of topics, from explosive denunciations of the Nigerian Government's criminal behavior; Islam and Christianity's exploitive nature, and evil multinationals; to deconstructions of Western medicine, Black Muslims, sex, pollution, and poverty. Chief Priest Say was cancelled, first by Daily Times then by Punch, ostensibly due to non-payment, but many commentators have speculated that the paper's respective editors were placed under increasingly violent pressure to stop publication.
[edit] Partial discography
| Year | Title | Label |
|---|---|---|
| 1971 | Live ! (with Ginger Baker) | Wrasse Records |
| 1971 | Why Black Man Dey Suffer | Wrasse Records |
| 1972 | Stratavarious (with Ginger Baker) | Polydor/Wrasse Records |
| 1972 | Na Poi | Wrasse Records |
| 1972 | Open & Close | Wrasse Records |
| 1972 | Shakara | Wrasse Records |
| 1972 | Roforofo Fight | Wrasse Records |
| 1973 | Afrodisiac | Wrasse Records |
| 1973 | Gentleman | Wrasse Records |
| 1974 | Alagbon Close | Wrasse Records |
| 1975 | Noise for Vendor Mouth | Wrasse Records |
| 1975 | Confusion | Wrasse Records |
| 1975 | Everything Scatter | Wrasse Records |
| 1975 | He Miss Road | Wrasse Records |
| 1975 | Expensive Shit | Wrasse Records |
| 1976 | No Bread | Wrasse Records |
| 1976 | Kalakuta Show | Wrasse Records |
| 1976 | Upside Down | Wrasse Records |
| 1976 | Ikoyi Blindness | Wrasse Records |
| 1976 | Before I Jump Like Monkey Give Me Banana | Wrasse Records |
| 1976 | Excuse O | Wrasse Records |
| 1976 | Zombie | Wrasse Records |
| 1976 | Yellow Fever | Wrasse Records |
| 1977 | Opposite People | Wrasse Records |
| 1977 | Fear Not For Man | Wrasse Records |
| 1977 | Stalemate | Wrasse Records |
| 1977 | Observation No Crime | Wrasse Records |
| 1977 | Johnny Just Drop (J.J.D Live!! at Kalakuta Republic) | Wrasse Records |
| 1977 | I Go Shout Plenty | Wrasse Records |
| 1977 | No Agreement | Wrasse Records |
| 1977 | Sorrow, Tears, and Blood | Wrasse Records |
| 1978 | Shuffering and Shmiling | Wrasse Records |
| 1979 | Unknown Soldier | Wrasse Records |
| 1980 | I.T.T. (International Thief Thief) | Wrasse Records |
| 1980 | Music of Many Colours (with Roy Ayers) | Wrasse Records |
| 1980 | Authority Stealing | Wrasse Records |
| 1981 | Black President | Wrasse Records |
| 1981 | Original Sufferhead | Wrasse Records |
| 1981 | Coffin for Head of State | Wrasse Records |
| 1983 | Perambulator | Wrasse Records |
| 1983 | Live in Amsterdam | Wrasse Records |
| 1985 | Army Arrangement | Wrasse Records |
| 1986 | Teacher Don't Teach Me Nonsense | Wrasse Records |
| 1989 | Beasts of No Nation | Wrasse Records |
| 1989 | O.D.O.O. (Overtake Don Overtake Overtake) | Wrasse Records |
| 1990 | Confusion Break Bones | Wrasse Records |
| 1990 | Just Like That | Wrasse Records |
| 1992 | Underground System | Wrasse Records |
[edit] See also
[edit] Notes
- ^ 音楽 情報ニュース/100人の偉大なアーティスト - No. 46/HMV
- ^ Hamilton, Janice. Nigeria in Pictures, p. 70
- ^ Meaning of Anikulapo in Nigerian.name
- ^ Bobby Gass credits Allmusic
- ^ a b Fela Kuti remembered | World | guardian.co.uk Music
- ^ Fela Kuti
- ^ Fela and His Wives. Jouvert, The Import of a Postcolonial Masculinity.
- ^ This section includes material copied verbatim from "Chief Priest Say", at chimurengalibrary.co.za, released under GFDL.
[edit] Sources
- Idowu, Mabinuori Kayode (2002). Fela, le Combattant. Le Castor Astral. France.
- Olaniyan, Tejumola (2004). Arrest the Music! Fela and his rebel art and politics. Indiana University Press. USA.
- Olorunyomi, Sola (2002). Afrobeat: Fela and the Imagined Continent. Africa World Press. ??.
- Schoonmaker, Trevor (ed) (2003). Fela: From West Africa to West Broadway. Palgrave Macmillan. USA.
- Schoonmaker, Trevor (ed) (2003). Black President: The Art & Legacy of Fela Anikulapo Kuti. New Museum Of Contemporary Art, New York. ISBN 0-915557-87-8.
- Veal, Michael E. (1997). Fela: The Life of an African Musical Icon. Temple University Press. USA.
[edit] Video
- Stephane tchal-Gadjieff & Jean Jacques Flori, Music Is The Weapon 1982, reissued in 2002 by Universal
- Fela In Concert 1981
- Fela Live! Fela Anikulapo-Kuti and the Egypt 80 Band 1984, Recorded Live At Glastonbury, England
[edit] External links
- The Shrine, The Unofficial Website for Fela Kuti, Femi Kuti and Afrobeat Music.
- Fela Kuti / Koola Lobitos / Fela Ransome Kuti & Africa 70 / Fela Anikulapo Kuti & Africa 70 / Fela Anikulapo Kuti & Egypt 80 discographies at Discogs.
- Fela Anikulapo-Kuti, a detailed discography.
- The Fela Project, a multimedia art exhibition, publication and performance project that explores and commemorates the influence of Fela Kuti.
- Fela From West Africa to West Broadway, book with multi-faceted look into Fela's life and legacy.
- Black President, exhibition at the New Museum of Contemporary Art, NY in 2003. Traveled to London, San Francisco and Cincinnati.
- New York Times review of Black President: The Art and Legacy of Fela Anikulapo-Kuti.
- Current working afrobeat bands worldwide.
- BBC Radio 3 Fela Kuti Feature (currently available to listen to).
- Fela Radio Shrine, a trip into the musical thoughts of Fela Kuti.
- Fela's true legacy, in-depth article from The Guardian.
- Fela Kuti remembered Biography from The Guardian.
- A linguistic approach to Fela Kuti's lyrics, word-by-word translations of five of Fela's best-known songs.
- Fela Kuti's biographical entry in the African Music Encyclopedia.
- Fela Kuti, under World Music Legends on GlobalRhythm.
| Persondata | |
|---|---|
| NAME | Kuti, Fela |
| ALTERNATIVE NAMES | Olufela Olusegun Oludotun Ransome-Kuti (real name) |
| SHORT DESCRIPTION | Musician and actor |
| DATE OF BIRTH | 10 October 1938 |
| PLACE OF BIRTH | Abeokuta, Ogun State, Nigeria |
| DATE OF DEATH | 2 August 1997 |
| PLACE OF DEATH | Nigeria |
