Daily Archives: April 13, 2021

Scrolling through the comments made on YouTube on Fela Anikulapo-Kutis music, one comes across remarks such as: The greatest unknown musician who ever lived, Why isnt Felas music more widely known?, His music beats everything Ive ever heard before and Why am I so late to this?

The truth is that during Felas extraordinary lifetime, the Nigerians notoriety as an engaged citizen fighting for social justice was what usually attracted attention and not his music . His public persona as a cultural renegade, an incorrigible iconoclast and social rebel hugged the headlines. Not his intoxicating blend of Yoruba trance music, highlife-derived harmonies and African American funk and jazz. He was artistically ahead of his time. And nearly 30 years since his passing, the world is still playing catch up.

Fela was a social and cultural misfit during the prime years of his career. He was blacklisted on radio. The DJs who played his records were considered brave. These defiant on-air personalities included Lagos Jacob Akinyemi Johnson (JAJ), who broke the mould in the 1980s. It also didnt help matters that Felas complex music compositions sometimes ran for over half an hour. This lengthy format didnt fit with standard broadcasting durations and was a severe drawback for breaking into commercial radio and record companies.

According to Fela, the value of music exceeded its entertainment appeal. In his view, music had a spiritual dimension and so commercial considerations were secondary. As I wrote in a recent essay, his temperament was uncompromising.

Fela Kuti is one of many prominent names nominated for induction into the prestigious Rock and Roll Hall of Fame this year. Other big name acts include Tina Turner, Foo Fighters and Iron Maiden. We are already late in catching on during his colourful lifetime. It does feel embarrassing. But now theres an opportunity, with the benefit of hindsight, to reevaluate, redefine and bestow his due accolades. Kutis recent nomination for a spot in the Rock & Roll Hall of Fame is a great start.

Fela was special and he stood out in his music, lifestyle and activism. There he was, always uniquely dressed in embroidered brocades and African-inspired prints. He lived dangerously, defying brutal military regimes, flamboyantly puffing on jumbo-sized marijuana joints, with a bevy of scantily clad, made-up women in tow, with street thugs as his bodyguards.

Aesthetically, he was a fiery riot of stunning colours, jarringly expressive (anti) styles and loud and discordant attitudes. There was none like him then, and even now. Fela was an avatar, an anomaly and a pioneer all at once. And the ripples he left in his wake are still felt around the world.

Fela was difficult to love. He always seemed too hot to handle. He seemed out of place and was uncompromising in his art, politics and vision. He was wild, uncontrollable and spontaneous. This was a guy who had the sheer audacity to marry 27 women in a single day. He also employed somewhat tyrannical methods in running his extensive household and sprawling band.

He was accommodating to a fault. Hoodlums and common criminals were often able to seek and find refuge under his protection. He found joy in poking at the finer sensibilities of decent society. Fela was born middle-class, but on many occasions, he rejected classism. He reportedly used luxury Mercedes Benz cars as transport for firewood, spinach and other indignities, to demystify affluence.

Due to his behaviour, his music was shunned by polite society and the political class. Instead, he became famous for his serial transgressions, arrests, state-sanctioned physical assaults, 300 court appearances and spells of imprisonment.

He always referred to himself as abami eda, meaning the weird one. It was true. He was as weird as they come, and wasnt afraid to revel in it. And now, his robust life has become myth. All we have left is a legacy of astonishing music. We must now develop the language and critical tools to describe and analyse the potency of his work. We must also begin to honour his music and cultural accomplishments.

There are reservations about how appropriate Felas possible induction into the Rock & Roll Hall of Fame is. He created a genre of music that defies standard systems of categorisation. It was the only way he could create art.

Read more: A tricky legacy: How Fela lives on in pop stars like Wizkid and Wyclef

Afrobeat, the genre Fela pioneered, has become more than music. It comprises a seductive fusion of diverse musical genres, politics, pan-Africanism, eroticism and funky, spirited grooves and attitudes. You cannot separate one from the other. And that is why his fans and imitators can only come up with a shallower, globally acclaimed subgenre Afrobeats.

Although, Felas work influenced todays Afrobeats, it is still a reduction of the original form. Theres a wide gulf between Afrobeat and Afrobeats. Felas work stands out in terms of musical proficiency, ideological rigour and spiritual potency. Afrobeats is also commercial in its appeal, making it vulnerable to co-option, imitation and devaluation. However, this is only one side of the equation. Afrobeats has grown into a fusion of diverse sounds from the Africana world. In its current form, it incorporates West African rhythms, hip hop, R&B, dancehall and reggae-influenced beats.

Read more: The daughters and sons of Fela in African Pop

All things considered, Fela remains a creative oasis. So vital a creative source, that artists and musicians who come after him are overwhelmed by his legacy. Its partly why people who sample his work, usually produce abridged forms of Afrobeat. The world still has some catching up to do. Perhaps he is a genre unto himself.

Felas nomination for a Rock & Roll Hall of Fame spot can only be received with mixed feelings. It implies that the world is now ready to accept him, in spite of his scandals and idiosyncrasies. Arguably, his inclusion into that prestigious institution could dilute his message, ideals and spiritual endowment. He would have to be rebranded, deradicalised and remade for the Western gaze. The result will be a more palatable version that fits into the standard for major endorsement deals and campaigns.

See the rest here:

Nigerian icon Fela is long overdue for the Rock & Roll Hall of Fame - The Conversation CA

7. Oru Indian Pranayakatha (2013)

Veteran Malayalam filmmaker Sathyan Anthikad joins hands with Fahadh Faasil for the first time to feature the actor in a romantic comedy, which is a genre Fahadh has been rarely seen in. Fahadh as Aymanam Sidharthan is charming as the wily local youth wing leader of a political party who wants to make it big. He falls in love with Irene (Amala Paul) a Canadian, who is in Kerala on a secret mission to find out her real identity.

You can watch the film on Disney+ Hotstar.

8. Trance (2020)

Fahadh is brilliant as a motivational speaker named Viju Prasad, who transforms into Joshua Carlton, an influential Christian preacher performing hoax miracles and hoodwinking the public. Director Anwar Rasheed and Fahadh take the audience on a heady, psychedelic journey that makes Trance an unforgettable experience.

You can watch the film on Amazon Prime Video.

9. Iyobinte Pusthakam (2014)

An engaging period drama set in British India, Iyobinte Pusthakam is directed by Amal Neerad and is co-produced by Fahadh Faasil, who plays the role of Aloshy Gomber in the film. Fahadh as the kind and compassionate Aloshy, who is struggling to keep himself sane and the love of his life safe, while living with his ruthless father and siblings is a treat to watch.

You can watch the film on Disney+ Hotstar.

10. Kumbalangi Nights (2019)

Madhu C Narayanans directorial debut revolves around four hostile step brothers living in a shack of a house in Kumbalangi. How their lives heal and they begin to look out for each other with the presence of the feminine in their lives forms the crux of the story. Fahadh not only co-produced the film with Dileesh Pothan and Syam Pushkaran but also played the character role of Shammi - an unhinged MCP in the film.

You can watch the film on Amazon Prime Video.

(The Quint is available on Telegram. For handpicked stories every day, subscribe to us on Telegram)

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10 Fahadh Faasil Films You Need to Watch Before Malik - The Quint

Mollywood stars Nazriya Nazim and Fahadh Faasil got married in a grand wedding in 2014. The couple was last seen in the Malayalam film Trance, which hit the big screens in 2020.

Cutie pie Nazriya Nazim gave a visual treat to her followers and gave them a much needed nudge to kickstart the weekend. She took to her Instagram space and shared some adorable photos of herself with her husband and popular actor Fahadh Faasil. Sharing the photo, she wrote that they both were in a mood to click some morning selfies. One can see a happy Nariya flashing her million dollar smile while sitting on Fahadhs lap as he is seen hugging her from behind.

Sharing the photo, Nazriya wrote, Some mornings ...we are in the mood for selfies. Both Nariya and Fahadh have recently announced that they will be starring in Tollywood films. While Nazriya announced that will be teaming up with Nani for a Telugu film titled Ante Sundaraniki, Fahadh will be seen as the main antagonist in Pushpa. Directed by Vivek Athreya, Ante Sundraniki will mark Nazriya's Telugu debut and it is expected that the film will be rolled out soon.

Also Read:Samantha Akkineni is the latest fan of Enjoy Enjaami; Wonders if she has been living under a rock

The makers are expected to announced more official updates about the film in the upcoming days. On the other hand, Pushpa is directed by Sukumar and it has Allu Arjun as the main lead. Rashmika Mandanna will be seen as the leading lady. Pushpa is all set to hit the big screens on August 13 amidst huge expectations. On Allu Arjuns birthday, the makers released the teaser and it received a tremendous positive response.

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Nazriya Nazim and Fahadh Faasil are lovestruck in the latest selfies shared by the former; See PHOTOS - PINKVILLA

Piers Faccini Shapes of the Fall

N Frmat/Beating Drum 2 April 2021

The promise of a new release from British-Italian artist Piers Faccini has proven, over a career which has now eclipsed some 20 years, to generate more than a frisson of anticipation and excitement from those familiar with his oeuvre. His latest studio album, Shapes Of The Fall, will certainly not disappoint.

Over these two decades this enigmatic songwriter has succeeded admirably in producing music which truly reflects the fusion of the diverse cultures and mores of southern Europe, Africa and the Near East which for many generations have melded together and influenced the sounds emanating from the Mediterranean shores. His collaborations with artists such as French-Lebanese jazz trumpeter Ibrahim Maalouf, Mailian songwriter and guitarist Rokia Traor, Ballake Sissoko, the Malian kora player, and the Iranian violinist and composer Jasser Haj Youssef, reflect his desire to explore and exploit, in the creative sense, cross-cultural imperatives, a broker of traditional music from around the world.

A long time resident of an old farmhouse in the Cvennes mountain region of France, he and his family are surrounded by the beauty of nature, a source of inspiration and influence for his writing. Previous work attest to his concern for the earth, and with Shapes Of The Fall this unease is taken to a new level.

As he explains, The fall is what were already living through, there is a kind of collapse happening already. And alongside that, I wanted to play around with the myth of the Garden of Eden, as if it were today. The exhaustion of the planets resources and ongoing environmental catastrophes and loss of bio-diversity evidenced first-hand in his witnessing trees dying and birds disappearing within his locality leads him to pessimistically question mans relationship with his environment whilst ruminating upon any possible resolutions. Thus hope and desperation, destruction and rehabilitation are parallel dichotomies that run like threads through the album.

Musically, the release is steeped in southern Italian, Arabic Maqam and Andalusian rhythms and modes which reflect not only his own Mediterranean ancestry but also other traditions from across the narrow Mediterranean straits, all with a healthy element of folk-blues added to the mix. His exploration of tarantismo, a trance and dance ritual from Puglia, (arachnophobes beware), sits alongside his consideration of existing trance traditions from the Maghreb, and in Berber and Gnawa culture. This exposition of the microtonal mode, characteristic of Middle Eastern music, is realised not only through vocal delivery but by the judicious use of apposite instruments played by expert musicians.

Algerian friend, master-musician and specialist in Gnawa music, Malik Ziad, with whom he has worked for the past five years, plays oud and mandola, and following his recommendation to Piers, his brother Karim a master drummer and percussionist, was also brought on-board. in addition to having written all the songs, Piers is also co-producer of the record along with Fred Soulard, and he plays guitar, harmonica and his hybrid fretless guitar-oud, designed and made by luthier Michel Cassan, which enables him to experiment with musical modes that come from Turkish or Arabic music as well as playing riffs that come more from the blues. Other artists involved include Italian drummer Simone Prattico, a string quartet arranged by Luc Suarez and two guests whose stellar contribution is outlined below.

Opener, They Will Gather No Seed, is a wonderfully constructed song. Musically, from sparse guitar notes simply plucked, finger snaps and simple piano bass notes, the intensity builds, almost imperceptibly, as the string quartet subtly weave their spell. Lyrically, the narrative of the album immediately points to the prospect of the fall outlined above. In explanation, Faccini has said I tried to imagine voices, like the voices of animals, but also the voices of trees, of leaves, of branches and roots of the earth, and the mineral world also, thus if shapes of the fall are indeed the endangered species that constitute the complex patchwork of our disintegrating and fragile world, the descent is both of our making and within our powers to reverse,

Theyll gather no seedTheyll break no breadTheyll gather no seedBut a hunger instead

However, the plaintive line Bring me my home back, repeated chorus-like, is not the singers personal cry, but that of a bird, used figuratively as a lament to represent all species on the brink of extinction.

Foghorn Calling, one of the singles culled from the album, (featured in Folk Radio here), features Maliks expertise on the guembri or sintir, a unique Gnawa instrument that is at one and the same time both stringed and percussive, and which here acts as the driving spine throughout the track. Pierss plaintive lyrics again utilise the language of imagery. The metaphorical foghorn sounds the haunting warning of Earths potential catastrophic environmental collapse, and the devastating loss of biodiversity. The dichotomy posed is will the call be heeded in time and mankind guided to a safe haven or ignored and lost at sea? His thoughts, judging by the words of the final stanza, appear to lie in Camp Hope

Where theres a will theres a wantingA hand to hopeA hope to hold To drag forth the darkness from you

The ethereal Dunya, the opening and closing lyrics of which are delivered in Arabic, is so atmospheric that it proves difficult not to imagine being transported to a more celestial location, a similar effect also being achieved with the mystical Levante.

Comparisons have been made elsewhere suggesting that Piers sounds like a modern-day Nick Drake. It has to be said that Together Forever Everywhere would support this assertion, both in terms of vocal delivery and song structure. With the strings judged to absolute perfection, this is a sublime song. In a similar vein, The Real Way Out is 2minutes 40 seconds of pure elegance.

Perhaps the most interesting track on the album, admittedly a difficult choice given that they are all so absorbing, and certainly no disrespect here is meant towards Piers, is All Aboard, the one track featuring two special guests, his Californian friend Ben Harper and the Moroccan master of Gnawa music and tradition, Abdelkebir Merchane. Composed with Malik, the lyrics and narrative flow from an initial two-word call and response refrain all aboard. Inspired by trance rhythms, in many ways this song returns the album to the optimism and light of the opening track as these rhythms help us heal, to go from darkness and fear to hope and light.

He uses the Noah & The Ark story to draw a parallel with todays environmental crisis, with survivors of an environmental collapse getting aboard a makeshift boat and heading for the Poles, the only places cool enough to live on.

However, as he explains, But I also wrote the song as a kind of parody, to highlight the absurdity of humanitys inaction in the face of impending catastrophe. Wed rather let our home and planet and our very own paradise burn in front of us instead of just getting on board a green new narrative and all aboard a way to avoid that apocalyptic scenario. In addition to Bens guitar, the song features two instruments from the Maghreb, the aouisha played by Malik and, once again, the guembri Karim, as well as the metal hand percussion, the large metal castanets known as karkabous. One minute 49 seconds in sees a dramatic key change as Merchanes vocals take centre stage as, in Arabic, possibly Chamrahouche, he asks the Gnawa saint or djinn, El Fqih for blessing and healing. An utterly compelling track, it was Pierss wish that the song creates a conversation between himself, Ben and Abdelkebir, to these ears he has succeeded admirably, forging a perfect fusion of voices and instruments.

All songs mentioned thus far, in line with those not highlighted, share certain commonalities. His lyrics display a genuine honesty and integrity and the overall sonic picture has produced a rich, magical, enveloping atmosphere throughout. Underlying the entire album is a rhythmic feel that is rarely experienced, and a testament to his attention to detail in this respect. The role that the percussion plays is worthy of an isolated listen or three on its own, in addition to those instruments already outlined, we hear frame drums, bendir and tamburelloand syncopated handclaps, all used to dramatic effect.

In Shapes Of The Fall Piers Faccini has created a masterpiece cerebral, thought-provoking, but above all, musically, an intensely enjoyable listening experience. On the very first airing, a tremendous immediacy and dynamism is apparent, but repeated plays are highly recommended, revealing as they do fresh nuances and subtleties with every repeated listen.

Order via Bandcamp: https://piersfaccini.bandcamp.com/album/shapes-of-the-fall

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Piers Faccini: Shapes of the Fall | Folk Radio - Folk Radio UK

A standout offering in the collection is Somdanger Instagram. In this poem, a disgruntled lover details a dystopic yet relatable tale of a young man deeply in love with a girl whos caught up in chasing men who give her the material things she desires mirrored in the rancid pit of Instagram. Effectively using "meme culture" and other online tropes, he skillfully paints the picture of an on-and-off relationship where the young man is pining for the love of his life while she chases other men.

Over the years, Makhafulahas deconstructed his notions of what black love is and how to express it and this is beautifully expressed in Mabankbook. It feels like a poem that finally celebrates black people in love without being plagued by colonial ideas of romanticism.

Ulele tears apart every single construct of identity, likening the loss of ourselves to a state of intoxication. His words are slurred [but eloquent, of course] depicting black people in a deep trance-like state brought on by a combination of poverty, political corruption, intellectualism, Marxism, debt, loss of identity and dysmorphia, religion, colonisation, etc. He states that black people are not educated but under a spell of indoctrination, internalised racism and even when we laugh, we are crying and, we are stuck in a trance a deep sleep.

Throughout this collection, as a black being, you will laugh, cry and see yourself throughout. Makhafula is unafraid to summon igwijo from Koketso The Bull Poho to detail a story few want to hear.

As a young boy, Makhafula moved to Soweto and away from Limpopo. He feels that if he had experienced a life closer to nature itd be easier for him to connect to himself and the true essence of his being.Instead, he grew up in Soweto one of SAs biggest townships initially established for migrant workers and their families during the apartheid era.

This album is an important part of history as we continue reimagining, redefining and reconstructing our beings as so-called blacks.

*The Concerning Blacks project was released on all major digital streaming platforms on April 6 2021.

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Makhafula Vilakazi's new poetry album Concerning Blacks will take you through a range of emotions - SowetanLIVE

When I was a kid, my family would visit Pakistan every year for summer vacations, and wed stay at my paternal grandmothers home where there was no company aside from the elderly, and little to do for an introverted child, except watch films on an old VCR that would threaten to eat VHS tapes.

One summer, we rented King Kong vs Godzilla (1962) and I watched the old Japanese kaiju film repeatedly for weeks. It was a thrilling monster film that knew what its audience wanted: big creatures fighting. Recently, I watched the film again, and the special effects didnt age well. Now, its clear that its just two dudes in costumes duking it out with all the skill and aggression of two Karens fighting over a parking spot near a Walmart in middle America.

But I digress. Godzilla vs Kong (2021) is an exhilarating monster film that makes me feel like a little kid again. The special effects are some of the best Ive ever seen. The creatures are so incredibly detailed, and the animation so lifelike, that youd believe they were real.

Please dont do yourself a disservice by watching Godzilla vs Kong on your phone or laptop. If youve been vaccinated, watch it in the theatre. Otherwise, watch it on a large 4K TV with HDR (High Dynamic Range) to genuinely appreciate the stunning visuals.

With excellent special effects and eye-popping visuals,Godzilla vs Kongis an exhilarating monster film that makes one feel like a little kid again

The HDR effects are essential because they really help the colours pop. For example, theres a fight sequence in modern Hong Kong, and the high contrast of HDR makes the neon-lit buildings in the background look part of a giant psychedelic trance concert.

Director Adam Wingard knows what we want from this movie, and gives it to us almost immediately by showcasing the action early. Unfortunately, the story in Godzilla vs Kong is serviceable at best. The film takes place five years after Godzilla defeated King Ghidorah, and humanity began to accept the creature as a keeper of the peace.

However, Godzilla starts to go berserk, violently attacking a facility and killing humans. Of course, to stop the monster, the human beings bring Kong into the picture. The two beings fight, and more people die, so clearly it wasnt a great plan.

The film features quite a few talented actors. Theres Alexander Skarsgrd, playing a geologist named Dr Nathan Lind who follows Kong. Theres Millie Bobby Brown, playing Madison Russell, the daughter of a pair of scientists, who believes that theres some sinister human behaviour behind Godzillas dangerous actions. Theres also Brian Tyree Henry, who plays a technician named Bernie Hayes, who runs a conspiracy theory podcast, and is the most charismatic human performer in the film, with some amusing dialogue.

The cast doesnt have much to work with. Most of the characterisation is one-dimensional. Their roles are simply to push the plot forward and create another excuse for Godzilla and Kong to come to blows. While this is understandable, and clever to some extent, I feel like the human element could have been more compelling, without overshadowing the monsters.

Ultimately, we watch Godzilla vs Kong for one reason, and the film serves that on a large platter.

Rated PG-13 because of destruction, brief language and intense creature violence

Published in Dawn, ICON, April 11th, 2021

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CINEMASCOPE: GODS AND MONSTERS - DAWN.com