Did you think about the reason of the death of famous African musician Fela Kuti? Find out in the article.
Fela Kuti is one of the most famous African musicians ever. Fifty albums over fifty years and his sweaty, naked torso at times became a brilliant starting point for the Nigerian baseman, and for political prisoners around the world.
His career is measured in three decades, constantly interrupted by government violence against his musicians, his family and him personally. His records are regularly imposed bans extraordinary sitting of his huge family, original Kalakuta Republic (Kalakuta Republic) was ruined, his mother was killed, he was beaten and jailed. However, he fought corruption, brutality, and inhumanity of ordinary successive regimes, ironically, he died of AIDS a year before the crash, perhaps the worst of them the African Reich Abacha.
Fela Ransome-Kuti Anikulapo (Fela Anikulapo Ransome-Kuti) was born in a family of eminent Yoruba town of Abeokuta in the north of Lagos. This city was founded by the British in the early XIX century for freed slaves. There lived a Nobel Prize winner, writer Wole Soyinka (Wole Soyinke), this place has always been a hotbed of creativity and radicalism. The family Ransom born anti-colonialist people, people of nationalist orientation and musical talents. Fela's grandfather was a renowned composer, his father a pastor, a pianist, and his mother a nationalist leader. Later he moved to London. There in 1961, along with his friend and teacher by the name of Jay-Kay Brayma (JK Braimah) he organises team Koola Lobitos.
On returning home in 1961, he soon falls under the influence of artist in the soul style from Sierra Leone Geraldo Pino (Geraldo Pino), like in turn to James Brown. Fela has combined innovation with the style elements highlife, traditional music and called their sound "Afro-beat".
In 1969 he moved to the United States, where he met with African-American history. While he moved his relationship with the Black Panthers. Nigeria then suffered from political instability and assorted military leaders. However, the deterioration of the plight of the lower strata of society in Nigeria, Fela's music are honed and sharpened the revolutionary elements. He writes a series of singles, later collected together and issued under the title "Los Angeles sessions".
This was followed by work in London and change of the name of the band "Africa-70" promotion of which runs hard (after this period will apply the name of Fela's London Scene). Then in 1972 there was a period of real success, when they came out a few works have become classics in the style of Afro-beat. Then he mercilessly attacked by checking all topics from military governments to skin whitening, from traffic in Lagos before the arrest, but most of all, he opposed the socio-economic system, which is expressed in such oppressive poverty. His efforts did not go unnoticed. The seventies were characterised by extreme attention to him and police violence, conflict with international record companies, independent decision-making to go into exile in Ghana, and in spite of all this, the growing international recognition. Reaching the dazzling, vibrant climax African-bit found its niche in a crowded Lagos music market, and again becomes a bestseller.
In 1985, the military government seized on Fela, rigged the case of currency forgery and sentenced him to a five-year prison term. But the international response and strong protests within the Nigeria were such that in 1987 he was released weakened but unconquered. By the end of the decade, he successfully produced hits such as "Army arrangement" "Army order" piercing accusation of corruption of army officers time Obasanjo regime), "Beasts of no nation" "Beasts without nation" a topic castigated reactionary conservatism of Reagan in the US, Thatcher in the UK and Botha in South Africa), and the charge that applies to all, without exception, the Nigerian government, titled "Which head never steal?" "Whose leadership will never steal?")
Fela's life, full of confrontation, heavy duty and personal convictions peaked, and when in 1987 he went into a coma, dumped AIDS, the end came quickly. When he was buried, Lagos froze. Fela is truly remarkable to witness to the realities of post-colonial Africa. There was a system that could break his resistance, there was no such force that could sever his connection with the people and not be such a historian who will be able to overcome the force of his true reputation on the continent.
At that time, while Fela was in prison, his ensembles led by his son Femi. Now Femi Kuti (Femi Kuti) began his own career, avoiding the shadows of his father. Where the father said pompously and polemical, less sarcastic son, he's a big player, it is as a musician. And even if he is not old enough voice, its positive charge is the best addition to irresistible political awareness of the father. Album 1998 "Shoki shoki" and touring indicate a marked bias towards the dance floors.