By Tejumola Olaniyan
"Olaniyan has given us a profound and fantastically built-in booklet 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 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 significant other to Fela’s tune and a wealthy resource of data for reports in sleek African renowned music." —Akin Euba
Arrest the track! is a full of life musical examine of Fela Anikulapo-Kuti, certainly one of Africa’s such a lot recognizable, well known, 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 firms in which Fela produced his track, Tejumola Olaniyan deals a much broader, extra suggestive point of view on Fela and his effect on listeners in all components of the realm.
Placing Fela entrance and middle, Olaniyan underscores very important social concerns similar to 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 song, tradition, society, and politics, whether they comprehend Fela and his song, will locate this paintings worthy for figuring out the profession of an African big name and the politics of pop culture in modern Africa.
African Expressive Cultures—Patrick McNaughton, normal editor
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Extra info for Arrest The Music!: Fela and His Rebel Art and Politics (African Expressive Cultures)
The “progressive jazz” artists rebelled against the crass commercialization of jazz and introduced innovations of various kinds to dam that tide. Unlike the big band era, this form of jazz was emphatically not for dancing; the fast tempo made sure of that. Many of the artists were also known for their antiracist civil rights views and actions. Fela never made any declaration against existing conventional highlife or disagreed with the dominant culture of music for social dancing. All he wanted to do was distinguish himself on the highlife scene by his incorporation of more jazz sounds and protocols.
It is, however, in a class by itself. Songs—or artistic renderings in general—about the drunkard do not necessarily sell a dozen a penny in Yoruba popular culture, but they are not uncommon. Nearly two decades earlier, the distinguished novelist Amos Tutuola had made world famous the fantasy of one Yoruba gourmet palmwine drinker who went up to heaven to command back to earth his dead favorite tapster. This is in his The Palmwine Drinkard, which was subsequently adapted into a popular opera by the veteran Kola Ogunmola and his theater troupe.
I was still hustling. ”3 For the ¤rst time in his professional and ideological development, Fela began groping, conceptually, in the direction suggested by his mother years before, though without his knowing it. He began to think about such large issues as Africa, the world, culture, and identity—matters he had before thought were distant and extramusical. He was now thinking of music as a bearer of African cultural speci¤city in the global marketplace of cultures. A cultural nationalist was born.
Arrest The Music!: Fela and His Rebel Art and Politics (African Expressive Cultures) by Tejumola Olaniyan