I know this is all over the internet right now but the message is just too much for me not to want to add my voice.
Shot in Dealey Plaza, Dallas the official video for Erykah’s lush Window Seat joint was posted at 3.33am last Saturday. The fact that I’ve mentioned 3.33am will shows you where I’m going with this. Ever the esoteric empress, Erykah’s choice to upload at such a numerologically significant timeframe is a big clue to the kind of symbolism you’ll witness when you click ‘play’.
A guerilla style 5.35min sequence follows her striding across the plaza while simultaneously stripping naked and ends with her thoughts on the Orwellian ‘Groupthink’ characteristic after she is shot dead and lays naked on the ground. Some interpret this as a treatise on the risk of being shot -down as a ‘true’ artist, others are drawing direct parallels to the JFK assasination cover-up which occurred in the same location. My personal view is that it’s both of those things and much more besides (you know Ms Badu is far from shallow so limitations to interpretations are dangerous.). Anyway, being that groupthink isn’t cool, check out the piece, ungroup your thoughts and make your own mind up…
(NB.Some of you may find it little challenging to move beyond the beauty of the Badu booty but stick with it….it’s important!)
Continuing our Rhythm Talk which began with Gwo Ka late last year, we’re back once more to ruminate on the Rhythm. This one goes out to all Nigerians…we’re talking Fuji!
Unless you’re a Nigerian, or have a good knowledge of West African drum music, chances are you’ll have heard little about Fuji music. Alledgedly founded by one Alhaji Sikiru Ayinde Barrister, the name Fuji oddly bears no relation to the Yoruba word Fuja/Faaji meaning enjoyment, instead being christened by Mr Barrister’s chance glance at an advert for Japan’s Mount Fuji. This however, is where the music’s link with the Far East ends.
Born of the union of Islamic and Yoruban cultures, Fuji Music grew out of the Yoruban Wérémusic traditionally played to call Muslims to feast and prayer during Ramadan. If you get the chance to listen to any Wéré/Ajisari/Fuji rhythms you’ll understand why I’m not entirely pleased about my early years spent at Roman Catholic Church at my parents request…the rhythms are amazing! Layers and layers of them. Underpinned with raw drums, punctuated by song and embellished with drizzles of saxophone, guitar and keyboard. Listen….
Alhaji Sikiru Ayinde Barrister and Kollington Ayinla are recognised as the godfathers of the Fuji movement. Ayinde Barrister finding fame as the founder of Fuji after a spell under the tutelage of Jibowu Barrister who, along with his peers in the “Ajiwere” scene, evolved a number of styles heavily influenced by the Yoruban Sakara and Apala musics. Kollington Ayinla, Barrister’s musical rival, is noted for the success he found delivering his fast-paced, dancefloor-friendly twist on the Fuji theme to the people. Check out his “Alakara Ofa Keni Keji” for rhythmic proof.
The Sakara Drum.
The main instruments in Fuji are the Gangan (medium sized Yoruba talking drum), the Sakara (Yoruba frame pictured above), the Omele Gangan (mini Gangan), the Sakara Omele (small sakara) and Bata Omele which forms the crucial backbeat. A Fuji orchestra can include a myriad of percussion; Shekere, Bells, Iyalu (large talking drum) and of course a drum kit, sometimes congas too. On the melodic front, you’ll usually find plenty of backing singers, keyboards, guitars and a touch of brass.
Fuji’s popularity continued through the 80s and 90s right up to the present day. As a supporter of the underdog, it gives me a certain pleasure to know that a style which was known for a time as ‘the poor man’s JuJu’ still has a secure place in today’s African music marketplace. That being said, those of us favoring music with more integrity and less American sensibilities might want to dig the past before delving too deep into modern day offerings.
One more recent artist who treated Fuji the right way is Adewale Ayuba. Known primarily for his JuJu creations, Ayuba’s take on the Fuji theme ‘Bonsue Fuji’ managed to successfully transcend barriers of age and class….not easy.
On a slight but nonetheless relevant tangent, those of you with open minds might like to check the following clip to witness what happens when the music described above finds its way to LDN and meets friends from South Asia, America and beyond. Richard Olatunde Baker and his Eardrum project have been successfully experimenting with cultural fusions for some time now. We were proud to have them as guests at one of last years Heads High sessions and judging by the sounds on this video, it would appear that those of us who know are in for a very special treat when their forthcoming album drops….
I’ll leave the rest to you. If you’re a scholar or a deep, deep digger, chances are this is nothing new to you. Hopefully though, those of you marginally less geeky (and I do mean marginally) will benefit from the leads and sounds presented above.
Long live the rhythm…
Many thanks to Richard Olatunde Baker for his contribution. Also, thanks to the Afro Slab blog for the pics. Make sure to click through to them for bytes & bytes of those ol’ dusty Afro selections…
‘Told you we aint dead yet, we been livin’ through your internet. You don’t have to believe everything you think, we’ve been programmed, wake up, we miss you.’
As part of an underground creative network, we take pride in supporting, creating and exporting ‘progressive/forward-thinking/different-from-the-norm’ music. Noble principles. There is a deep value in this….. but when did we decide to dissociate these lofty principles from the rest of our lives?
I’ve been observing the musical blogoshpere for a minute now and it has been a bipolar experience of delight and disappointment. Delight in the amazing creations we are continually blessed with and disappointment that there are virtually zero heads out there (Heads High included) that are willing to talk about much else but the music itself, or its associated media. Breaking bread with industry friends,it seems that any kind of vaguely political or spiritual topics have slim place in certain musical spheres – that people don’t want to be preached to. They’re right. But who are we if as tastemakers and opinion shapers, we’re too afraid to say anything apart from big up or take down the endless stream of product coming through our hands?
Our culture has been structured in a way that allows us to blot out realities in favour of consuming more of the same – in a different package. This particular thought stream was triggered by ‘The Story Of Stuff‘, a 20 minute treatise on the harsh realities of the production process which you’ll have heard of somewhere over the past year or so. Don’t worry, I’m not going to launch into a tirade against the evils of consumerism….I think we all get the picture on that….what does interest me though is the idea that cultures are created, maintained and perpetuated with the goal of neutralizing peoples opinions on things that matter.
I figure 90% of you reading this are music lovers….the word culture is almost holy ground to us. We all take pride in the (sub)cultures we are part of. More than that, we actively direct and extend these cultures. So in truth, we’re in a curious space where we simultaneously control and are controlled by our cultural ‘norms’.
Back to the Story of Stuff. If you’ve seen it, you’ll agree that one of the most unsettling moments is the quote below:
The Real Meaning of Consumer Demand
‘Our enormously productive economy demands that we make consumption our way of life, that we convert the buying and use of goods into rituals, that we seek our spiritual satisfactions,our ego satisfactions, in consumption. The measure of social status, of social acceptance, of prestige, is now to be found in our consumptive patterns. The very meaning and significance of our lives today expressed in consumptive terms…. We need things consumed, burned up, worn out, replaced, and discarded at an ever increasing pace. We need to have people eat, drink, dress, ride, live, with ever more complicated and, therefore, constantly more expensive consumption.’
Sound like a familiar situation to you? A market analyst named Victor Lebow dropped this in his ‘Journal of Retaling’ which was published way back in 1955. An era which saw the rise of youth culture on both sides of the Atlantic. A generation which prided itself on its autonomous rule and individual identity while in actuality feeding the very same model described by Mr Lebow above. Sadly, in this respect at least, I feel we have progressed little in the past half century.
My basic point is, as Erykah says, we need to wake up. Technology has afforded our generation(s) a ridiculously high level of creative output but we seem to be wielding this potentially world altering weapon like children with toy swords. Art is exceptionally important, and we celebrate it accordingly, but we are lost in a maze of the next big thing. The exact maze that Mr Lebow describes in his quote. The longer we remain lost, the longer our voices are ineffectual in the reshaping of a world which, in number at least, we should be in control of. When I flick through the new posts on my RSS feed reader, I can’t help but feel a little bit of shame. Shame at the fact that after an evolution on this planet of circa 300,000 years (the official figure), the majority of us appear to have limited our infinite capacities (including our creative vision) to boundaries set by those whose aim is for us to continue to walk in self-perpetuating circles.
I don’t believe it’s an accident that some of the most enduring icons are those which used their art to speak beyond the surface. Cats like Fela Anikulapo Kuti and Peter Tosh. who composed for human rights, John Lennon, who made noise for peace, and Sun-Ra, who stood out on a limb and opened minds to new realities – if they were ready. We’ve got our share of truth speakers now. Sa Ra, Georgia Ann Muldrow and Dudley Perkins are flying the flag for peaceful spiritual frontiers amongst others. Heads like Mos Def and Immortal Technique are dropping truth on the lies of the men in suits and even Stones Throw’s James Pants has turned his attention to the esoteric with his latest ‘Seven Seals‘ offering. It would have been easier for any one of these artists not to have broached uncomfortable subjects, just as it is easier, and infinitely more socially acceptable, for us to talk air rather than truth. I’m not saying that every song or blog post needs to be chanting down Babylon and discussing the nature of multi-dimensional reality, but I really do believe its time for our media educated generation to consider their purpose and objectives in a world which needs direction now more than ever. We all have truth to tell. I for one would like to look back on what we produced in word, sound and image and know that it actually meant something….
Capoeira has its roots in Africa. Africans brought their dances, rituals and musicality to Brazil, and motivated by the need to be free from slavery and their ’senzalas’ (slave quarters) capoeira was born. At once serious and playful, dance and fight, spiritual and profane the uniting element behind the art from ancient to present is it’s drive for freedom.
The love-child of Abigail Clarke (Producer) and Daren Bartlett (Director), O-Zelador shoots a wide-angled gaze at Afro-Brazilian tradition using the life and experience of Capoeirista Mestre Russo as a medium. A humble figure, Russo prefers to be known as O-Zelador or ‘The Caretaker’ in reference to his self-appointed role as the guardian of the culture and integrity of Capoeira. A title which he richly deserves. If you’re looking for Russo, you’ll be guaranteed to find him every weekend at the famous ‘Roda De Caxias‘, a street Roda (capoeira circle) of which he has been the guardian for decades. Sometimes as many as three generations of capoeira players can be found at this Roda, and it provides a vital opportunity for the residents of the Baixada Fluminense to come together in spirit, dance, song and of course battle. Having survived attacks under dictatorship and hostility from the various state sanctioned academies, the Roda De Caxais is a symbol of defiance, strength and freedom to it’s participants.
Afro-Brazilian culture runs deep. O Zelador successfully communicates stories of the origins of capoeira, and its links with the Orisha worshipping Candomble ‘cult of nature’ whilst relating Russo and his family’s personal stories, lived out against a backdrop of poverty, crime and government oppression. The thread linking all these elements together is community, something we feel very strongly about…
Check out the trailer and a brief description of the Candomble religion below and if you want more, jump to the official O Zelador site here.
It would be interesting to get some feedback on these two videos taken at G&D’s recent Fat Beats Instore. Personally, once i’d got out of the frame of mind that I was watching them purely to see a musical performance, then I was in a space where I could respect and resonate with the content. The truth is difficult to deliver, especially without a backing track, so I thought it was refreshing to see two Hip Hop anchored artists speak out, loud and clear for what they believe. I think once upon a time that used to be the true role of a musician, to accurately reflect and positively influence his/her environment. Sometimes the sermon thing gets a bit much so I look to instrumentals for my teachings but there’s nothing more powerful than the word….word? Get back to us with your thoughts. Respect to Culture King for the footage…
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