FELA: KING OF THE INVISIBLE ART by Jay Babcock (1999)

felasmokes1

This article was originally published in Mean Magazine (October 1999), which I was editing at the time, with art direction by Camille Rose Garcia. The piece was accompanied by a set of sidebar interviews and an overview of Fela’s catalog by Michael Veal [who was finishing his work on the manuscript that would be published as Fela: The Life And Times Of An African Musical Icon]. The main article text, and sidebars, were later reprinted in full in the Da Capo Best Music Writing 2000 book (thank you Douglas Wolk and Peter Guralnick).

FELA: King of the Invisible Art
by Jay Babcock

Fela Anikulapo Kuti: 77 albums, 27 wives, over 200 court appearances. Harassed, beaten, tortured, jailed. Twice-born father of Afrobeat. Spiritualist. Pan-Africanist. Commune king. Composer, saxophonist, keyboardist, dancer. Would-be candidate for the Nigerian presidency. There will never be another like him. This is the sensational story of Fela, the greatest pop musician of the 20th century, featuring the words of Fela’s friends, fans and the Ebami Eda himself.

“What can I say? I wasn’t Hildegart!”
Fela always knew the power of a name.

If you are African—and especially if you work with music, which shares a link of common invisibility with the spirit world—you must have a spiritually meaningful, beneficial name. Without the correct name, Fela explained, “a child can’t really enter the world of the living.”

He didn’t like the name he was given when he was first born, in 1935: his Nigerian parents had followed a local German missionary’s suggestion. So Fela died and was born a second time, on October 15, 1938; this time his parents called him Fela.

“Bear the name of conquerors?” he asked Carlos Moore, author of Fela: This Bitch of a Life, in 1981. “Or reject this first arrival in the world? The orishas [spirits] they heard me. And they spared me. What can I say? I wasn’t Hildegart! It wasn’t for white man to give me name. So it’s because of a name that I’ve already known death.”

In 1975, at the height of his popularity and power, Fela changed his middle name. “I got rid of ‘Ransome.’ Why was my name ‘Ransome’ in the first place? Me, do I look like Englishman?” Fela’s full name was now Fela Anikulapo-Kuti, which meant in whole, ‘He who emanates greatness, who has control over death and who cannot be killed by man.’

That same year Fela also started to cheekily call himself Black President, eventually releasing an album bearing the same title in the midst of a thwarted campaign. And sometime in 1986, following his release from Nigerian prison after serving 20 months on trumped-up charges, Fela began to call himself the Ebami Eda, which translates roughly as “the weird one,” or more delicately, as “the one touched by divine hand.”

Fela was touched, alright. But he was not only a visionary musician who created a whole new style of music—Afrobeat—and left behind an incomparable body of recorded music. No. Fela also simultaneously spoke truth to power, and then recorded it as a 12-minute dance-funk song, with a title like “Government Chicken Boy” or “Coffin for Head of State.” He endured brutal physical punishment and constant imprisonment. In the end, he died from complications associated with the AIDS virus. His heart was broken: he had sung so much, fought so hard, amassed such popularity, and still, hardly anything changed for the better in his beloved, heart-shaped continent of Africa. So: following is the story of that big generous, humorous, creative, divine heart that Fela had: from its early heartbeats, to Afrobeat, to the beatings it took, to its final, slow heartbreak.

Continue reading

FORGET WOODSTOCK, PART ONE: "ARE YOU READY, BLACK PEOPLE?"—NINA SIMONE's all-time knockout performance at the Harlem Festival, 1969

Following are five YouTube clips which appear to form the whole of NINA SIMONE’s blazing knockout masterpiece set at HARLEM FESTIVAL ’69.

Other performers at the Harlem Festival—six free weekend, outdoor concerts held at the Harlem end of Central Park in the summer of 1969—included Stevie Wonder, the Staples Singers, Sly and the Family Stone (click here to watch on YouTube), B.B. King, Mahalia Jackson, The Chambers Brothers, Dizzy Gillespie, Gladys Knight & the Pips, Max Roach…the list goes on and on. It’s a host of magnificent artists, many at the peak of their powers, playing to a predominately black audience at a super-charged, awful-yet-hopeful moment in American history.

Makes you wonder: Why do we all know about Woodstock, but not about Harlem, which took place the same year?

After all, all of the performances were filmed by a professional crew led by director Hal Tulchin. But aside from four songs from Simone’s set, released in fall 2005 on a little-noticed dual-disk entitled The Soul of Nina Simone, which Arthur’s pseudonymous reviewers C & D went apeshit for way back in Arthur No. 20, none of this footage has ever been made commercially available in the United States.

Which is sad. Watch Simone’s remarkable, incendiary heart-soul-voice performance, especially the stunning “To Be Young, Gifted and Black” and the closing “Are You Ready, Black People?” and you’ll see why…