Download PDF Fela: The Life And Times Of An African Musical Icon
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Fela: The Life And Times Of An African Musical Icon
Download PDF Fela: The Life And Times Of An African Musical Icon
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From Publishers Weekly
Raucous, uninhibited and proud, Fela was one of Africa's most intriguing personalities, for his controversial public persona as much as for his music. It's difficult to say for what Fela, born Olufela Olusegun Oludotun Ransome-Kuti, was best known: his band publicized Afropop in the 1980s; he repeatedly spoke out against unfair politics in Africa and abroad; his life was abundant with drugs and sex. This exhaustive and objective profile, written by a Yale ethnomusicology professor, examines the Nigerian superstar's life and work from 1938 to his death in 1997. Veal traces Fela's roots to the diverse town of Abeokuta, noting the musical influences left by family and community members there. Following a typically mischievous childhood, Fela pursued an education at Trinity College of Music in London. Soon he and his orchestra were touring the U.S. under the name Nigeria 70, developing the new sound of Afropop. Although the tour was not a popular breakthrough, their subsequent return to Nigeria placed them on the budding African music stage. The book goes on to survey Fela's life at home and worldwide, detailing his imprisonment and physical abuse, his performances, his listeners' reactions and his compositions. Fela covered political corruption, mysticism, frustration with Western views on Africa and other significant subjects in his music, all the while continuing a sexually promiscuous life. Veal has taken on the staggering task of portraying a musician/politician/rebel, and he executes it well. Copyright 2000 Reed Business Information, Inc.
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From Library Journal
Fela was born in Abeokuta, Nigeria, in 1938 into an upper-middle-class family whose members included several well-known educators and religious figures. In 1958, he was sent to London's Trinity College of Music, where he discovered Charlie Parker and John Coltrane and soon formed his own band, Koola Lobitos. Over the years, he developed a jazz-funk fusion style dubbed Afrobeat. Little known in America, Fela recorded dozens of albums and became an international superstar with a social and political conscience. His blistering attacks on Nigeria's corrupt military government landed him in jail, in exile, and in danger of losing his life. Veal (ethnomusicology, Yale) became interested in Fela nearly 20 years ago as a student at Boston's Berklee College of Music. Extensive notes, a comprehensive bibliography, and a discography reflect the book's scholarly credentials. This is an important work on world music's most influential figure since Bob Marley, but most cost-conscious libraries will want to purchase the paperback edition.DDan Bogey, Clearfield Cty. P.L., Federation, Curwensville, PA Copyright 2000 Reed Business Information, Inc.
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Product details
Paperback: 352 pages
Publisher: Temple University Press (May 17, 2000)
Language: English
ISBN-10: 1566397650
ISBN-13: 978-1566397650
Product Dimensions:
7 x 0.8 x 10 inches
Shipping Weight: 1.6 pounds (View shipping rates and policies)
Average Customer Review:
3.6 out of 5 stars
8 customer reviews
Amazon Best Sellers Rank:
#533,792 in Books (See Top 100 in Books)
Arrived as described with a few lines highlighted... overall I'm super happy and excited to read this great perspective on Fela, through the lens of the Ethnomusicologist Michael Veal!!!
This book contains a lot of interesting information concerning Fela Kuti(family background, historical, cultural and political environment) but sometimes I had the distinct feeling I was reading a scientific research report. A little more fluency in writing would have made reading more enjoyable
Really not a good biography. Reading the previous reviews, I was expecting much more than this boring, often academic-written book. Some parts of Fela's life are really obscure in this book, just few words about his mother's death (almost nothing!), nothing about characters as Dr Hindu.Even musically, some fundamental masterpieces of Fela are almost not mentioned, see "Confusion", "Coffin for Head of State".Then, the worst thing is the lack of energy in this book - impossible to hear the spirit of Fela, impossible to find an african feeling, anywhere. This is a huge fault."Fela: This Bitch of a Life" remains the best book about Fela and his striking indomable spirit. A complete, objective biography on Fela is something really far from this book.
Fela was a true artist - a man committed to his music, who was intelligent and aware enough to see the disgrace of what his country had become. Despite beatings, arrests and the murder of his mother, he simply refused to remain silent about what was going on in Nigeria and Africa.But if his music was merely okay, he'd be a footnote in music history. As it was, Fela produced some of the most challenging, abrasive, rhythmic and simply awesome music ever produced.I thought that it would be impossible for a book to capture and explain this truly wild soul - but this one did a very good job. Amazingly, it began life as an academic paper. "Amazingly" because it is vibrant, detailed and completely entertaining.
I have mixed feelings about this book and while any book about Fela Kuti is to be welcomed, I don't think this is the definitive one and I do think that Fela's legacy deserves better.There is no doubt that the author is probably the most well informed of all those who have written about this iconic figure, the man who was the most important musician ever to come out of Africa. The research is unquestionably thorough and there is as much detail as any admirer would wish to know. The problem, for me, is that any biographer should be invisible in the work he's writing. Michael Veal, unfortunately, isn't and at times his presence looms larger than the subject of his book.Throughout the narrative there are long sections where the author writes an analysis of Fela and his relationship to the African experience. These passages are written in the most stilted and uncomfortable academic manner. The effect of this is to give the impression that the work is a cut and paste job between outside sources and one of the author's academic theses, an impression which renders the book an uncomfortable mix of good biography and dull collegiate essaying. There were times when reading these sections I wondered just what Fela would have made of this awkward literary style - and I suspect he would have been dismissive and written a song which parodied it.The other fault with the book is the distinct lack of objectivity from the author. That Michael Veal is in awe of the man is not in doubt, but awe is not the best starting place for a biography. The dichotomy of the contrasting aspects of Fela's personality is acknowledged on many occasions, but there is absolutely no attempt to analyse the negative aspects of his character. There is no examination of how Fela's stance in representing the poor and downtrodden contrasts with his ill treatment of his band members, there is no analysis of how, later in life such a forceful personality came under the influence of such an obvious charlatan as Dr Hindu and there is no mention, whatsoever, of the violence and brutality meted out by Fela's own people to those who lived in his commune. Details of which are well documented by other authors and numerous journalists. A biography should look at all aspects of the subject's life and this one fails the reader with excessive bias and a lack of balance.Michael Veal's involvement in maintaining interest in Fela and his music is to be welcomed. His active support in the ten years since the death of this icon and his involvement in facilitating the current availability of much of Fela's early, and more obscure work, is nothing short of admirable. Perhaps the final step would be a wholesale edit of this biography to produce a balanced and more readable work. Then, perhaps, we would have the definitive story of Fela Kuti.
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