By Tejumola Olaniyan
"Olaniyan has given us a profound and wonderfully built-in ebook 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 a type of 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 imperative spouse to Fela’s song and a wealthy resource of knowledge for reviews in glossy African renowned music." —Akin Euba
Arrest the song! is a full of life musical learn of Fela Anikulapo-Kuti, one in all Africa’s so much 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. the social context, instrumentation, lyrics, visible paintings, humans, and agencies in which Fela produced his track, Tejumola Olaniyan deals a much wider, extra suggestive standpoint on Fela and his impression on listeners in all components of the area.
Placing Fela entrance and middle, Olaniyan underscores very important social matters reminiscent of authenticity, racial and cultural id, the connection of pop culture to radical politics, and the which means of postcolonialism, nationalism, and globalism in modern Africa. Readers drawn to tune, tradition, society, and politics, whether they recognize Fela and his song, will locate this paintings beneficial for realizing the profession of an African star and the politics of pop culture in modern Africa.
African Expressive Cultures—Patrick McNaughton, normal editor
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Additional info for Arrest The Music!: Fela and His Rebel Art and Politics (African Expressive Cultures)
Idowu wrote euphemistically that 34 Arrest the Music! Fela’s “¤rst appearance at the ‘Afro-Spot’ was a pointer to the dif¤cult task ahead of him. ”37 To compound the alienation, he was not sure what to sing about that would interest the audience. Love songs were the staple for a musician of his kind (educated, thoroughly westernized, urban-based), and though he had not been successful with them earlier on, he was now vehemently opposed to them ideologically. Even with the free shows he did to reintroduce himself to the public, his early recordings “bombed,” to use the music-industry term.
Trip on Fela. It was in the United States that his tentative cultural nationalism of the previous year and a half was forcefully catalyzed and de¤nitively shaped. That process began from his own immediate observations and deductions about American society and its infrastructure well before he was introduced into the politics of civil rights and African-American nationalism. Fela’s expectations were great. Undertaking a successful American tour would boost his image and the band’s fortunes tremendously on return home.
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.
Arrest The Music!: Fela and His Rebel Art and Politics (African Expressive Cultures) by Tejumola Olaniyan