On "Palestinian Chicken"

The "Palestinian Chicken" episode of Curb Your Enthusiasm was interesting in that Larry David's character portrayed the emerging ideology among my generation's Jewish-American population; which is a new, universal liberalism.

Whereas, in the past, Jewish-Americans would define themselves as liberal, left-leaning, Democratic, etc., or whichever synonym you'd like

to use, there was a ceiling when it came to Israel's occupation of Palestine; amongst my generation -- there certainly still exists the aforementioned liberal Zionist -- Jewish youth are exceedingly more outspoken in their criticism of American Israeli policy and Israeli domestic policy. Many young Jews, as referenced in the above Beinart article, even empathize with the plight of the Palestinians.

In the episode, there still existed certain stereotypes (both Jewish and Palestinian) and caricatures; however, I appreciated Larry's treatment of Palestinians as just another ethnicity.

His Jewish friends aggressively denounced the opening of a Palestinian restaurant (Al-Abbas) next-door-to a Jewish deli (Goldblatt's); here, Larry shows his genius by using the Ground Zero Mosque fiasco as a reference point. Larry's friends lambast the opening of a Palestinian restaurant next a "sacred deli," and offer that the restaurant should be at least a mile away. Larry responds, "Hey, this is America, they can do whatever they want!" He not only says they can do whatever they want, but that they should be able to open the restaurant wherever they want.

When Larry's born-again Jewish friend says, "If Rabin can break with Arafat... I can have chicken at this anti-Semitic shit-hole," Larry immediately turns to defend the Palestinians, in his own way, of course. He asks his friend to remove his yarmulke before walking in the restaurant; in my opinion, it's not for the fact that he is wearing a yarmulke, but, rather, how he is wearing it.

He's saying, "I don't like how you are representing Judaism, and, if that's how you want to represent our religion, I don't want you representing it at all."

Despite his obvious flaws, Larry's message seems to be that we shouldn't define ourselves by any certain aspect of our lives-- rather, we should be greater than the sum of our parts.

Larry's friends are certainly close-minded and racist; however, the lead Palestinian character, Shara, plays their counterpart. It's true Hollywood has vilified Arabs for decades upon decades; and it's also true there is no positive, Palestinian alternative to Shara's character (which is my only criticism of the episode), but those holes seem at least partially filled by Larry's Zionist criticism. Because he does not shy away from criticizing Zionists, I find Shara's racist character, at the least, bearable, and, at the most, an honest reflection of a certain portion of the Arab population.

While, in my life, I may have surrounded myself with Arab and Jewish friends who are quite progressive, it is true that racism does exist within the Arab community. Some Arabs immediately assume any Jew they meet is a Zionist. In this way, Shara's character does represent a problem within the Arab community. If we want to be completely honest in our discussion of the conflict, Arabs must acknowledge this. It's something we must work on as a culture. I know too many progressive Jews to allow the "Jew = Zionist" rhetoric to persevere.

Simultaneously, Larry is telling us that there are also problems in the Jewish community. That it is silly for Jews to have such blind, unquestionable support for Israel and Israel's treatment of Palestinians.

The episode only jokes at a solution to the conflict in Israel and Palestine: that sending some of Al-Abbas' chicken to Israel will convince all the settlers to withdraw; but, we shouldn't expect Larry David to offer a solution to the conflict. It's not his job.

It's Always Sunny in Philadelphia did a great, perhaps, even better, job of tackling the conflict, but we'll save that analysis for another post.

For now, what's important is that Larry David is bringing the conflict into the mainstream. He's letting us know it's okay to talk about it, and that we should. Even more importantly, Larry shows us that Jews, Israelis, and Palestinians are human; they have flaws just like everyone else. And, when you accept that we're all human, it's much easier to talk about your differences.

Sama'an's Favorite Mixtapes of 2010

Keep in mind, these are just my favorites. Don't get this confused with any "Best of 2010" lists!

8. The Set Up -- Tha Suspekt

- First got my hands on this tape when I was up in Michigan over the summer. A Houston native with Punjabi blood, Suspekt mainly spits about his struggles-- but he leaves room for a few songs that address life's nicer things. Up-and-coming Cali representer, and incredibly dope lyricist, Push (another MC with Indian blood) makes two great guest appearances on the tape. While I might not be partial to "Bed Rock," it's clear that Suspekt has much untapped potential! What made this mixtape a favorite, for me, is that he tells a story on every song; well, that and his awesome/hilarious rendition of Rihanna's "Rude Boy," titled "Rude Girl," naturally. However, on "It's Too Much," you can feel the pain in his every word. Hip Hop needs more story-tellers.

- Check out:

- "Self-Made Man" w/ Push.

- "Rude Boy."

- "It's Too Much."

7. DISASTERKRFT -- Zeale (@Zeale)

- Zeale is a break-out artist from Austin, Texas, and you'll find that his sound is incredibly unique. Zeale gives you a blend of unique lyricism and spaced-out, sci-fi beats, which make this mixtape great for the club, the car, the treadmill, or at home when you're playing Halo with your friends. His lyrics cover a great deal of topics, but mainly focus on the state of the world and how he'd like to see things fixed. There's the occasional smoke break, girl break, bass break, etc., but it all comes back to his conscious awareness of the problems the earth (specifically, the U.S.) is facing. If this is really all a dream, when we sleep and we wake what the hell is in-between?

- Stand-out tracks:

- "I Get Doe" featuring Fat Tony.

- "The Island"

- "Solo Trippin'"

- "Monzter Hospital"

6. Concealed Weapons Vol. 1 & 2 -- The League of Extraordinary Gz (@LOEGz)

- Comprised of the three biggest rap groups from Austin (Da C.O.D., Dred Skott, and Southbound) the League are quickly becoming recognized as Austin's biggest rap group. Volume One features underground hits, such as, "That Ain't Right," (which was showcased at SXSW), "You Can't Bury Me," and, perhaps their biggest hit, "Loftin' n Austin." The rest of Vol. One is loaded with hits, like the soulful "Alright," the Beatles-sampling, "Keep Moving," and old-school mic-passing over Michael Jackson's "Billie Jean" on the awesome "Raw."

No disrespect to Houston, but we got our own sound. -- from "Loftin n Austin."

Volume Two continues their Southern story-telling with "We Gon' Make It," the blues-inspired "Home," and "Go Hawd" which features Houston legend Trae. Volume two ends with "Trae Day," which features The League showing solidarity with Trae in his battle against Houston's 97.9 The Box (more on that later). It should be noted that The League are among the few Texas artists who have shown support for Trae during this whole ordeal. The League's debut album is expected to be released in the Spring; 'til then, I'm waiting to hear the completed version of the mythical song "Space Kush."

My nigga ridin' round with 100 years worth of time in his backpack, ain't thinkin' 'bout no rhyme or no ASCAP check. -- from "We Gon' Make It."

- The League's best:

- "That Ain't Right."

- "Loftin' n Austin."

- "Alright."

- "We Gon' Make It."

- "Home."

5. The Diamond Collection (The Best of 1982) -- Statik Selektah (@StatikSelekt) & Termanology (@TermanologyST)

- Funny story about this one, when I first heard this mixtape I thought it was the actually 1982 album (it isn't) and was raving about how good 1982 was for about two weeks. Then I saw the 1982 track-listing, and I was like, "...Oh..." haha. Anyway, Termanology, the Massachusetts-born MC who has received the blessings of the legendary DJ Premier, is one of my favorite, new MCs, and Statik Selektah is becoming regarded as one of the best, new producers in the game. For the two to team up seems natural, and I jammed the hell out of this mixtape on my way to-and-from college for a solid two to three weeks.

The guest appearances (Cassidy, Saigon, Q-Tip, Styles P, Consequence, Talib Kweli, Royce da 5'9", M.O.P., AZ, Xzibit, and Bun B) are solid enough to let Hip Hop Heads know that Term has the respect of the most respected MCs. I won't say I played this straight through every time, but there are some extremely jammable songs to more than make-up for the weaker songs.

Me and Hip Hop go together like swastika-Nazi. -- Royce, from "Come Around."

- Stand-outs:

- An updated version of N.W.A.'s "Express Yourself" w/ Consequence and Talib Kweli.

- "Nobody's Smiling," Term's best lyrical performance on the album.

- "Come Around" featuring Kweli and Royce (who spits an incredible verse).

- "Streets of MA" featuring MA's finest.

- "You Should Go Home," featuring Bun B & Masspike Miles.

4. It's Been About Time -- Cory Mo (@CoryMoMusic) (hosted by Bun B).

- Cory Mo is creeping his way up my list of favorite producers, and his MCing skills are catching up, too! He (along with Pimp C's other proteges) has just the right ear to translate Blues into Country Rap Tunes, in a way that perhaps only Pimp C could do better. Guitars and church organs abound as Cory and his friends submerge you in the syrupy swamp that is Houston Hip Hop. There are almost too many guest appearances to name, so just download the tape to see who shows up (hint: Talib Kweli, Mistah F.A.B., and more). The best part about the mixtape is Cory's beats are as stellar as the line-up, and the line-up is an all-star cast.

"Get Out The Way" and "Rollin'" are new Houston classics as far as I'm concerned; and "Gettin' High" is a soulful smoker's anthem, produced by Houston's DJ Rapid Ric, featuring an awesome Cheech & Chong sample.

- Check these out:

- "Get Out The Way" featuring Bun B.

- "Rollin'" featuring Z-Ro.

- "Luxury Smokin'" featuring 4-Ize.

- "Let The Pimpin' Commence" featuring GLC & Mistah F.A.B.

- "Gettin' High" featuring Devin the Dude, B.o.B., & Chalie Boy.

3. Can't Ban Tha Truth -- Trae (@TraeABN).

- Absolutely the best mixtape to come out of Texas in 2010, Can't Ban Tha Truth plays out more like an album than most albums released last year. It is truly a mixtape with purpose and meaning behind it. Can't Ban Tha Truth was released in response to controversy surrounding 97.9's ban of Trae's music. As a result of the ban, artists were afraid to come out in support of Trae (fearing they would be banned as well), so Trae adapted. The end result worked out largely in Trae's favor, as he landed features from Lupe Fiasco, Young Buck, Young Jeezy, and more. The only Houston MCs to make an appearance on the album are Screwed Up Click legend, Big Pokey, and a new artist on the A.B.N. label, Yung Quis.

Trae's lyrics are more focused and heart-felt than ever before; as well, his ear for dope beats seems to be growing stronger. "Cop a Drop" is new Houston classic, as is "That's Fo Real." "Deuces & Treys" finds Young Buck at the most thoughtful he's ever been, lyrically, and "Radio Won't Play This" is the perfect anthem for Trae's situation. Folks should be afraid of what Trae does next.

I see the snakes no longer in the grass, they in the open. -- from "That's Fo Real."

- Check out:

- "Cop a Drop."

- "Deuces & Treys" featuring Young Buck and Big Pokey.

- "Radio Won't Play This" featuring Wyclef.

- "Bad Don't Seem So Wrong" featuring Lupe Fiasco.

- "Pimp C Speaks."

- "That's Fo Real."

2. Soul Like Khan -- Soul Khan (@_soulkhan).

- After being heralded as one of the greatest freestyle battle MCs of the past few years, Soul Khan finally put out a debut album. This falls on my "Favorite Mixtapes" list (as opposed to "Favorite Albums") only because it was released for free-- which blows my mind. If you're not familiar with Khan's freestyle abilities, I encourage you to spend a few hours on YouTube watching his battles (which I did with no shame). Among his most famous lines is, the day anyone calls you a rap star, you gon' hear Taylor Swift singin' 'Allah u-akbar.' -- From his battle vs. Deacon Frost.

The production is on-point for every song, and it would be ridiculous to question Khan's lyrical abilities. Being a battle MC, Khan's lyrics range from mind-boggling, to silly, to deeply-thoughtful; whichever he decides to use, you can rest assured that you'll get nothing less than the wittiest from Soul.

On "Place That Birthed Me," Khan paints a picture of his native Los Angeles; this song is likely his way of addressing questioning of his California loyalty after his move to Brooklyn. It's clear he hasn't forgotten where he comes from. "Suck My Dick" is infinitely clever-- Khan uses vulgar language to draw in the ignorant (a la Lauryn Hill) and then proceeds to destroy excessive consumerism, materialism, general ignorance, etc. The most stand-out of the stand-out tracks has to be "Fahrenheit," also the lead single, which features Khan at his lyrical best.

Here are a few of the things I burn: Cartier glasses, Louis V purses / the money of the fools that think that she's worth it / the Nikes of the white boys that all rock dunks / when four years ago they were hard rock punks. -- from "Fahrenheit."

- Stand-out tracks:

- "Place That Birthed Me."

- "Suck My Dick."

- "Fahrenheit."

- "So I Says."

1. Pre-Act II: Greatest Hits -- Jay Electronica (@JayElectronica). Mixtape done by @RealHHHead!

- Well, if you haven't heard by now, Jay Electronica (along with Lupe) is Hip Hop's savior. (Shoutout to Jay-Z for signing Jay Electronica to Roc-a-fella, that was a BIG move) This mixtape is a compilation of Jay's greatest songs and features done by the homie, Real Hip Hop Head. The amount of depth in every Jay verse (heck, every Jay bar) will blow your mind. Jay is partial to rapping without drums or hooks, and it's this abstract approach that sets him apart. What's more, his beats are as unique as his words; his beats are so far from cliche, they might be avant-garde. The imagery, subject matter, and samples he uses are so incredibly unique, it's hard to say Jay Elec sounds like any other MC you've ever heard.

"Exhibit C" was crowned by many as the best song of 2009, and, now, after hearing all the songs Jay put out in 2010, I have no idea which is the best song of 2010 (I just know it'll be one of his songs). On "Suckas" he perfectly emulates The Notorious B.I.G.'s style and delivery in a way text cannot convey. "Voodoo Man" is an incredible stand-out track, from Jay: Voodoo man tap dancin' in the French Quarter, walkin' on water with a scroll in my hand, the blueprints forged this shape like vessel that was chiseled out of metal off the coast of Japan. What's even more incredible is that, for all its awesomeness, "Voodoo Man" is 80 seconds long.

Jay has to be the only guy who has ever said, catch me in Mexico meditatin' with Quetzalcoatl (From "So What You Sayin'"). His intellect and thought process are such that you have to playback every single one of his verses, and every time you do you discover new meaning in each bar. It's hard for me to recommend even just five songs, this is an absolute must-have mixtape. Jay can do more in a two-minute song with no hook than most can do with three verses. If you want to expand your mind, this is for you. In addition to Jay's solo material, his best feature appearances have also been compile on this mixtape (and he steals every feature he does), so you'll get his verse from Talib Kweli's "Just Begun," Paul Wall's "Live It," and Curren$y's "The Day," among others. Keep in mind, this whole mixtape is FREE!

Simply put, no new MCs come close to addressing the topics Jay Elec addresses. He raps for the oppressed people of the entire planet, From Baton Rouge to Jerusalem, as Jay says himself on "The Ghost of Christopher Wallace."

All you 'Pac imitators, you ain't doin' what 'Pac was doin'-- 'Pac was tryin' to start the motherfuckin' revolution. -- From "So What You Sayin'."

- Stand-out tracks:

- "Act I: The Pledge" (Eternal Sunshine, Rules, Voodoo Man, FYI).

- "The Announcement," featuring a killer John F. Kennedy sample.

- "My World (Nas Salute)."

- "I Feel Good."

- "Suckas."

- "Dealing."

- The whole damn mixtape.

Well, there you have it, folks, my favorite mixtapes of 2010!

You can follow me on Twitter @SamaanAshrawi.

"Jazmatazz" Analysis & Meaning

Remember, this is simply my opinion and interpretation (but I'm up for a good debate). But, I would love to talk to Jay Electronica, if possible, and find out more of the meaning behind these lines. Anyway, I'm really diggin' this new Jay Electronica song, so I thought I'd try to break it down a little bit and share what I come up with!

(you can follow him on Twitter @JayElectronica)

First, the lyrics:

"We’ve got some difficult days ahead. But it doesn’t matter with me now. Because I’ve been to the mountaintop. And I don’t mind. Like anybody, I would like to live a long life. Longevity has its place. But I’m not concerned about that... now. I just want to do God’s will. And He’s allowed me to go up to the mountain. And I’ve looked over. And I’ve seen the Promised Land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the Promised Land. So I’m happy, tonight. I’m not worried about anything. I’m not fearing any man. Mine eyes have seen the glory of the coming of the Lord." – MLK Jr.

Boom, bazz, dash I had break I had to get away
Packed my bags, headed for Greyhound, It was a Monday
Time to start my mission
I felt that burning feeling in my soul, I had to listen
I had this reoccurring dream from the stage in a suit with a fade
I had set the game ablaze and they threw me a parade
I stacked a lil change and took my family out the caves
But I was trapped in the maze like a lab rat
And like at the bottom of the barrel where they keep the crabs at
No Geico, No Afflac
Nothing to fall back on
But the streets where niggas cussed out the police and sold their crack on
Better known as back home
Where they treat the Arabs, and the Spanish, and the Blacks wrong
There he go with that song
You may be tired but I spit what I’m inspired
From the Lord of the worlds cause the Devil is a liar

[Chorus]
Say, Say
I’ve seen the lighting flashing (Yes I did)
And I seen the thunder roar
But you can’t (You can’t keep my down for long)
Cause I’m getting stronger (Cause I keep getting stronger)
Oh yeah (Oh yeah)

(Here we go)
My style is like a shot of Jack Daniels, a baby grand piano
Lightin’ Hopkins smokin’ cigs, strumming on a banjo
The son of man is a son-of-a-gun with hella ammo
The sheriff shooting Bob Marley, John J. Rambo
6 Sextillion, 19 Million
The Holy Pyramids say we all Allah’s children
Voodoo for the pilgrims who bring weapons and conceal them
They silence you with force then indoctrinate the children
Yo Gabba Gabba, Ahmadinjabba
Blow up your apartment if you don’t observe the Sabbath
I look the Devil in his eyes, then say Abracadabra
Then drown him in the mighty light, his brain couldn’t fathom
Scrapping everyday, just like Fight Club
A thriller and a smooth criminal just like Mike was

I love the MLK quote to kick things off and set the tone. He's sending a message to the oppressed people of the world. Also important to note is that this was the last speech Dr. King gave before he died (he was assassinated the next day).

First Verse:

Boom, bazz, dash / I had break I had to get away /

Packed my bags, / headed for Greyhound, It was a Monday /
Time to start my mission /I felt that burning feeling in my soul, I had to listen"

Just like Gil Scott-Heron, this song is told by an oppressed man who has his own individual story of oppression, but, any oppressed people will be able to connect to his desire to escape. His escape is his music (going on tour), and he borrows Rakim's famous line Start my mission... so we can be sure of his intentions. The last line is Jay's confession to us that his music comes straight from his heart.

I had this reoccurring dream from the stage / in a suit with a fade
I had set the game ablaze / and they threw me a parade
I stacked a lil change / and took my family out the caves
But I was trapped in the maze / like a lab rat
And like at the bottom of the barrel where they keep the crabs at

Jay's use of in-rhymes is phenomenal. Read only the initial phrases and then only the second phrases of each the first four lines and you are told a different story. The initial phrases tell the glory of success and how it affected Jay's self; the second phrases are the social consequences of being successful (some good, some bad). The initial phrases speak more autobiographical, while the second phrases have many interpretations and meanings when understood literally and when understood in social context.

No Geico, No Afflac /
Nothing to fall back on /
But the streets where niggas cussed out the police and sold their crack on /
Better known as back home /
Where they treat the Arabs, and the Spanish, and the Blacks wrong /
There he go with that song /
You may be tired but I spit what I’m inspired /
From the Lord of the worlds cause the Devil is a liar

While he acknowledges his humble roots, the streets of New Orleans, he also realizes: if he fails he will wind up back on those same streets. He also acknowledges the streets as his connection to the oppressed people around the world. While some people may not want to hear the message of unity, he only raps about what the ways God inspires him; in this way, he fights off the Devil using rhymes as his sword.

Second Verse

My style is like a shot of Jack Daniels, a baby grand piano /
Lightin’ Hopkins smokin’ cigs, strumming on a banjo /
The son of man is a son-of-a-gun with hella ammo /
The sheriff shooting Bob Marley, John J. Rambo

Jay is influenced by good times, classiness, the original bluesmen and their struggle. What man has become, and is becoming, is violent-- willing to vilify, attack, and murder those who do not conform to societal norms. On a more political level, he is saying man is now aggressively opposed to those asking for universal human rights.

6 Sextillion, 19 Million /
The Holy Pyramids say we all Allah’s children /
Voodoo for the pilgrims who bring weapons an conceal them /
They silence you with force then indoctrinate the children /
Yo Gabba Gabba, Ahmadinjabba /
Blow up your apartment if you don’t observe the Sabbath /
I look the Devil in his eyes, then say Abracadabra /
Then drown him in the mighty light, his brain couldn’t fathom /
Scrapping everyday, just like Fight Club /
A thriller and a smooth criminal just like Mike was /

The weight of the earth is six sextillion tons, the world is huge and vast. (My guess is) The 19 million refers to the number of vacant homes in the United States of America; he is pointing out the irony of these numbers. This final stanza begins by alluding specifically to the conflict in Palestine (though it could, conceivably, be applied to other situations). He begins by saying we are all children of the same God, implying criticism of those who play and play into racial and religious politics. The Voodoo for the pilgrims... line can be applied to several different situations, but I will fit it into Palestinians allusion. These two lines:

Voodoo for the pilgrims who bring weapons and conceal them / They silence you with force then indoctrinate the children

This is a criticism of the illegal Israeli settlements which result in the indoctrination of both Israeli-Jewish and Palestinian children: the children of Israeli settlers will be raised with a false sense of an entitlement while the Palestinian children will be raised yearning for recognition of their entitlement. (I'm still trying to figure out what "Ahmadinjabba," as the lyrics I found online say, or "Ah-madine-jabwa" as he pronounces phonetically, exactly is). He makes a reference to Israeli attacks on Palestinian civilians (maybe more specifically: Operation Cast Lead and the new Israeli loyalty oath).

Jay tells us that his other other weapons are knowledge and intelligence; and he will thoroughly train his weapons everyday until he is held in the same (music) conversation as Michael Jackson. He doesn't claim to be the greatest, but he has the tools and the determination to make it to the top.

Perhaps I'm reading too much into it, but I do know that Jay Electronica is an extremely intelligent human being. Cheers to his success!

Follow me on twitter: @SamaanAshrawi

Fela's Revolution

“Men are born,

Kings are made.

Treaties are signed,

Wars are fought.

Every country has its own problems.

Let us bind our wounds…
and live together in peace.” – Fela Kuti from “Viva Nigeria.”

There was a man who once thrived in Africa; he was a man that would create his own musical genre, create his own political party, and even make his mother a goddess. Though he was from Nigeria, and he was very passionate about his heritage, he called for a united Africa. His name was Fela Anikulapo Kuti, but you may call him “Fela.” He was supremely influential in Nigeria’s music, politics, and religion, but, today, his influence reaches farther than he may have ever known. He was as James Brown was to African-Americans and what Robert Nesta Marley was to Jamaicans: a multi-talented leader of a new school of thought that sparked a cultural revolution.

He was born Olufela Olusegun Oludotun Ransome-Kuti in Nigeria in 1938; his father was a Protestant preacher and school principal, his mother was a communist militant in the Nigerian independence movement (she had even once met Mao Zedong).[i] His family was comfortably middle-class, and he was afforded the opportunity to study in London at the Trinity College of Music in the early 1960s. At this point in his life, Fela’s passion was music; he had not yet developed his firm political and societal views.

He would develop these views on a trip to the United States of America in 1969. During this very important trip, he visited Los Angeles during the prime of the Black Power Movement; the city was still recovering from the Watts riots of 1965 (the most severe riots to occur in Los Angeles until the Rodney King-related riots during the spring of 1992). While in Los Angeles, Fela would meet Black Panthers and read Malcolm X’s autobiography several times. It was at this time that he would write his first protest songs, and, more importantly, he would gain a true understanding of what he believed it meant to be African.

When he returned to Nigeria, he would change his name to Fela Anikulapo Kuti because he felt his old name, specifically “Ransome,” was a slave name. Upon his return, Nigeria was in the middle of the Biafran-Nigerian War. Before they drew out their borders, European and Arab colonialists had failed to take into account the varying ethnic and tribal communities that lived within Africa. Ethnic groups were suddenly split and divided against each other. Thus, immediately after his return from the racial conflicts of the United States, he would see brutal black-on-black killing in Nigeria that left close to three million Nigerians dead.

It was after witnessing this civil war that he really began to form his political identity. In his documentary, Fela says, “This country is a Gestapo country… How can Nigeria be talking about South Africa? South Africa is better than Nigeria, I know so.”[ii] He felt this way because in South Africa, the white-on-black violence would be sure to face criticism; however, in Nigeria, he said, “We are painted as the best country in Africa (by the U.S.) — Nigeria is the worst African country.”[iii] He said this for two reasons: first, the West always attempted to paint a pretty picture of Nigeria because of its ties to Nigeria’s oil; secondly, black-on-black violence was rampant in Nigeria, due to the civil war. Black-on-black violence, Fela said, was the worst kind.

Shortly thereafter, he began pumping out powerful, uplifting protest songs. His musical style was completely unique to anything coming out of Africa at the time. Inspired by a musician named Geraldo Pino,[iv] from Sierra Leone, Fela took Pino’s James Brown-style performance and transformed it into something completely different. Fela played many instruments, but favored the saxophone and trumpet.

He wrote and composed all of his band’s tunes. His performances featured a large ensemble of a handful of backup singers, several percussionists, a horn section, and Fela on lead vocals (usually, with his saxophone attached to him like a necklace). His songs are distinguished by a vibrant, staccato horn section, highly syncopated drums and rhythm section, funk-style guitars, call and response lyrics, and a lengthy, jam session-style format. He sung a few songs in his native Yoruba tongue, but he mainly sang in Nigerian pidgin (a mixture of English and traditional Nigerian language). He released hit album after hit album, usually, multiple albums per year; he would call his style: “Afro-beat.” Little did he know, his music’s influence would reach the farthest corners of the world – but it is not yet time to speak of this great influence.

According to Fela, “Music is a spiritual thing… You don’t play with music because if you play with music, you will die young.”[v] Fela did not make his music for monetary or person gain, he believed his music was made for the traditional African gods and for the people of Africa. He said, “When the higher forces give you the gift of musicianship it must be well-used for the good of humanity; (it must not be used) for your own self by deceiving people.”[vi]

His music attracted audiences from all over Nigeria, and, eventually, from many distant regions of Africa. He enjoyed successful tours in Europe, and even recorded with Ginger Baker (the drummer for the legendary British rock band Cream). Soon, he began to attract followers who were not only interested in his music – he began to attract followers interested in his message.

He strongly believed in a return to African roots and called for Nigerians and Africans to unite against the true oppressors: the colonialists and imperialists that had looted and raped Africa. His calls for a united Africa mainly identified with the pan-African movement. He used words like “Africanism” and “Blackism” to describe his ideology. His following grew so enormous that he created his own political party: the Movement of the People, or M.O.P. He had plans to run for President of Nigeria, but, of course, the government was not his biggest fan.

For over a decade, he lived in the same suburb, in his own compound called the “Kalakuta Republic.” Affectionately known as the “Kalakuta Kingdom” by his faithful followers, the Republic was a mansion constructed of stone walls and surrounded by huts. On the first level were barracks for Fela, his mother, his lieutenants, and his wives (who numbered as high as 27 at one point in time). Beside it were sets of huts for bodyguards, his handymen, and everyone else. Roughly 100 people lived in Kalakuta permanently, many of whom traveled with Fela and his band on tour. Fela would always arrange travel accommodations for his people’s convoy.

As his movement grew, the government became increasingly afraid of his potential to influence Nigeria’s citizens to revolt. So, on Friday, February 18, 1977, at around noon, roughly 1000 soldiers surrounded Kalakuta armed with machine guns; the two sides battled each other for nearly 15 hours. The siege finally ended when a generator exploded and the house caught fire; the rebels were forced to surrender. Fela and his mother were thrown out of a window, women were raped, and citizens were beaten with clubs – precisely the type of violence Fela spoke out against.

As a result of this raid, Fela’s mother died. His mother’s death strengthened his religious and spiritual belief. Fela would say, “Christianity and Islam, they are only artificial religions. The reason Christianity and Islam spread (in Africa) is to exploit the people. They (the colonists) are diverting the African minds from their roots.”[vii]

Fela practiced a form of Yoruba religion. The Yoruba are an indigenous African religious group who share a common language and a belief that they are descendants of the first humans. Yoruba believe in God as the supreme power, but, “below God is a plethora of gods and goddesses, the orisa”[viii]. His regular concert venue was called “The Shrine” because of a shrine he had erected featuring the names of Yoruba spirits, Martin Luther King, Jr., Malcolm X, and Kwame Nkhruma (the great leader of the Ghanaian independence movement). After her death, his mother was revered as the spirit of rain among his followers. In the middle of his concerts, he would put the music on hold to carry out Yoruba rituals. This religious aspect rounded out the three facets of the Fela Anikulapo Kuti experience: music, politics, and religion.

Despite the raid of his compound, Fela recovered without missing a beat; his performances picked up, and he eventually set off for a European tour in 1980. When he returned, in 1981, the government promoted a propaganda campaign to make him “Public Enemy Number One.” In December 1981, the army staged a surprise attack on Kalakuta. This time, they used tear gas to force the residents out. The soldiers then ransacked the house, and beat children, men, women, and even pregnant women with their clubs. Fela’s wives were whipped with chains and Fela himself was seriously beaten. Once he was in jail, the government attempted to frame him for armed robbery (which was punishable by death at that time). The case did not hold up in court, and he only served 10 days in jail before being released due to a lack of evidence.

A battered, but not defeated, Fela returned to The Shrine the same night. Fela’s speech was more defiant than ever; he spoke with ferocity and fire as he told his followers what happened to him. Backstage, he says he still plans to run for president in the 1983 election. A no longer soft-spoken Kuti challenged, “If they (the government) think I’m going to change or compromise my attitude or my way of life, in my expression or in my goal, what’s politics? They are making me stronger, and I’m much more stronger now.”[ix] Notwithstanding his faithful followers, the government kept Fela’s name off the election ballot.

However, despite Fela’s defiant attitude, the government was slowly winning its war against Fela and his followers. By this point, Fela’s wives were down from 27 to 15; the government’s attacks on his people were becoming more frequent and more violent. By the 1990s, his music output was far less prolific and eventually came to a complete halt. Rumors spread that he was terminally ill, and his silence only provided fuel to these rumors.

Finally, on August 3, 1997, his brother announced Fela had died just the day before from an AIDS-related illness. The people of Nigeria were in complete shock after receiving the news of his death. Over 1 million people attended his funeral, which was held at the site of his old Shrine.

Today, Kuti’s message has reached a wider audience than he could have ever imagined. During his life, he could count Stevie Wonder and Paul McCartney as his fans and he performed with the likes of Ginger Baker, Bono, and Carlos Santana; however, a slew of artists would go on to be influenced by Fela. The sound of Fela’s music has found itself to be a great influence on the American rap genre. Artists such as Alicia Keys, Blackalicious, Busta Rhymes, Canibus, Missy Elliott, Mos Def, Nas, The Roots, Timbaland, and X Clan have sampled his music. Rapper Mos Def has been especially outspoken about his love for Fela, not only sampling his music, but, Mos Def also chose to include a sample of one of Fela’s famous speeches as the intro for the lead single “Quiet Dog Bite Hard” from his most recent album The Ecstatic (2009). Rapper Common even has a song entitled “Time Travelin’ (A Tribute to Fela)” on his album Like Water for Chocolate (2000). Furthermore, drummer ?uestlove of rap group The Roots recently posted a four minute YouTube documentary[x] on the relationship between Fela Kuti and Hip Hop in an attempt to showcase how deep Fela’s influence is on rap music and Hip Hop culture. Lastly, in 2008 an off-Broadway play titled “Fela!” was co-produced by the likes of Jay-Z, Will Smith, and Jada Pinkett-Smith and was received with rave reviews. Just recently, “Fela!” was nominated for 11 Tony awards, including the nomination for Best Musical.

Fela’s son Femi continues his father’s legacy with his own Afro-beat band that tours around the world, even stopping in Austin several times for the Austin City Limits music festival; Femi has also recorded with American rappers Common and Mos Def. Most recently, Focus Features announced this year they would begin filming a movie about the life of Fela and are hoping to release the film in 2011.[xi]

Fela Anikulapo Kuti’s influence on modern music and politics is undeniable. Fela’s story and themes within his life and his music are very identifiable with Hip Hop culture. Early themes in Hip Hop such as opposition to police, having a rebel spirit, and openly expressing displeasure with the government all likely stemmed from Fela’s music and lifestyle. Not to mention, both Fela’s music and rap are usually percussion-led and feature melody in repetition.

He was one of the pioneers of the pan-African movement and influenced countless African-American and African political theorists. This newfound “Fela Revival” seems not yet to have hit its peak, so only the future will tell us just how far and wide Fela’s influence will reach. Perhaps Fela was right when he said, “They can’t kill me, I can’t die, I won’t die…”[xii] The spirit of Fela lives on to this day and will continue on into the future.

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[i] Music Is The Weapon 1982, Stephane tchal-Gadjieff & Jean Jacques Flori, (Universal).

[ii] Music Is The Weapon 1982, Stephane tchal-Gadjieff & Jean Jacques Flori, (Universal).

[iii] Music Is The Weapon 1982, Stephane tchal-Gadjieff & Jean Jacques Flori, (Universal).

[iv] Falola, Toyin. Page 177, Culture and Customs of Nigeria. Westport, CT: Greenwood Publishing, 2001.

[v] Music Is The Weapon 1982, Stephane tchal-Gadjieff & Jean Jacques Flori, (Universal).

[vi] Music Is The Weapon 1982, Stephane tchal-Gadjieff & Jean Jacques Flori, (Universal).

[vii] Music Is The Weapon 1982, Stephane tchal-Gadjieff & Jean Jacques Flori, (Universal).

[viii] Falola, Toyin. Page 35, Culture and Customs of Nigeria. Westport, CT: Greenwood Publishing, 2001.

[ix] Music Is The Weapon 1982, Stephane tchal-Gadjieff & Jean Jacques Flori, (Universal).

[x] Thompson, Ahmir “?uestlove.” “The Funky African: Questlove on Fela” Video. 24 Feb 2010. Accessed 2 May 2010.

[xi] Music Is The Weapon 1982, Stephane tchal-Gadjieff & Jean Jacques Flori, (Universal).

[xii] Music Is The Weapon 1982, Stephane tchal-Gadjieff & Jean Jacques Flori, (Universal).