ariztos w w w. a r i z t o s . c o m
FA L L 2 0 0 5
THE MAGAZINE
Femi Kuti: Afrobeat is Still Alive!
Africa’s Next Top Model is Back! Happily Ever After?
Lura
The Hidden Jewel of Cape Verde Music $5.00 US
The Aftermath of a Terminated Relationship
Plus Much More...
Fall 2005
Features Letter from the Editor
CONTRIBUTORS Editor-in-Chief: Wale Akingbade;
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Photography by: Jelil Ojodu and Wale Akingbade Contributing
The Street from Lagos to Colonge
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Writers: Chi Chi Johnson, Shawn Williams,
After Happily Ever After
Africa’s Next Top Model Spend Wisely
Ojodu,
Rita
Cheng, Josh Aleemuddin, Dan
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Hip Hop makes Africa its Priority14 Lura
Jelili
Caterinicchia;
Illustrations
by
Anneli Navi;
Graphic Design:
Kizita Awuakye; Publisher: ARIZTOS,
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For
Inc. advertising
opportunities
email us: events@ariztos.com or
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write: Advertising Manager, ARIZTOS,Inc., 2100 M Street, Suite
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170, #327, Washington D.C. 20037. Please send your ques-
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National Miss Ebone US Pageant
tions and comments to : Letters to the Editor, ARIZTOS, Inc., 2100 M
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Zim Expo 2005
Street,
Suite
170,
#327,
Washington D.C. 20037 or email
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us: comments@ariztos.com
Femi Kuti: Afrobeat is Alive and Well
Join a winning team. Ariztos Magazine is looking for Writers,
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Perfected Praise and Focus
Photographers, and Advertising Managers from anywhere in the
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Moji Olaya’s Movie Premiere
world.
Contact
Wale
at
walea@ariztos.com.
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Events
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Letter from the Editor
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hank you to the many hundreds of new readers each month and to the return readers that keep coming back every issue.
The compliments received have made us all at Ariztos feel very pleased and satisfied with what we have achieved so far. The goal is for every issue of the magazine to be more stunning than the last. We also welcome novice contributions and present them honestly. So please don’t hesitate to contact me. In this issue, as in the others, we talk about talented Africans currently making waves in the U.S. and Europe. If you haven’t heard about them, trust me, you will. My friends at Rock Paper Scissors introduced me to Lura (on the cover). A young vibrant artist, by embracing her roots, has brought new vitality to very old sounds. “I relate to my heritage by the fact that I am black and I am an African” she told me. The African musical traditions of Cape Verde (Lura’s roots) are still emerging now because the nation only gained independence in 1975, and prior to that the Church and the colonial government prohibited certain forms. The accordion-driven funana — which Lura performs — was considered too erotic. Also, by now, we all know American hip hop has a great impact around the world. It’s the fastest growing form of music, and these artists could make a difference in our nation. A couple of the artists are doing just that! And there’s much more in this issue. We want to be the best publication we can be and are open to your suggestions and criticism as our readers and contributors are the key to our success. So please send me an email at walea@ariztos.com anytime. Again, thank you for your support. Wale Akingbade Editor In Chief
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t This Page: Winner, Shawn Cunningham Opposite: 1. Katherine Harris 2. Bethlehem Muleta 3. La Trycee Rena’ee Foler 4. Contestants performing 5. Geneice Wilcher, Shawn Cunningham, Patricia Okon 6. Anthonia Olatunde
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he ladies clearly ascertained National Miss Ebone US’s mission of showing that they have the qualities- leadership in the community, articulate communicator, genuine concern for women of color and the will to challenge herself scholastically- and it was difficult to choose who the best would be. At the end of the 1st ever National Miss Ebone US Pageant, Shawn Cunningham, Miss Ebone Maine, was crowned National Miss Ebone US 2005. 1st Runner Up is Geneice Wilcher, Miss Ebone Nebraska who also won the Heidi Fish Fitness Award (highest score in swimsuit). 2nd Runner Up is Katherine Harris, Miss Ebone Illinois. 3rd Runner Up is Patricia Okon, Miss Ebone Texas,and 4th Runner Up is Anthonia Olatunde, Miss Ebone West Virginia who also took home the Supermodel With Style Award. The National Miss Ebone Friendship Award Recipient is Blessing Kiobel, Miss Ebone Iowa and Velda Jackson, Miss Ebone Maryland won the Miss Photogenic Award. Congratulations to Shawn and the rest of the contestants.
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This is an event to look forward to in 2006 and years to come. Visit www.nationalmissebone.org for more details. ariztos THE MAGAZINE
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T he Street from Lagos to Cologne: Finding Fuji Satisfaction in NiGerman Hip Hop by Rock Paper Scissors
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his AfroPean, NiGerman story begins with Japan’s mighty Mount Fujiama, passes through ruthless murders, and ends on a Pan-Africanist dancefloor with a mission. The artist is Bantu a.k.a Adé Bantu, joined by Ayuba, a.k.a. Adewale Ayuba. The two collaborated to create Fuji Satisfaction on Piranha Musik. Fuji is a popular style of music in Nigeria, with roots in the old style of Nigeria’s Muslim Yoruba people. On Fuji Satisfaction, the form—which was named after the Japanese mountain, in honor of the symbolism representing love, unity, and brotherhood—reaches a new level with relentless lyrics and beats from hip hop, reggae, and afrobeat. Fuji is the perfect brand name for the fast-paced sound from the streets of Lagos, Nigeria. The music is a synthesis of all that is blending on the African continent today: Arabesque Islamic singing playfully competing with Western guitar and organ sounds over heavy polyrhythmic Yoruba drumming. A pioneer of the German hip hop movement from the start, Adé named his musical collective Bantu for a few reasons. In Yoruba, the phrase “é ban tu” means to untie. The name honors the martyred anti-apartheid leader Steve Biko who was of Bantu origin.
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And finally Bantu stands for Brotherhood Alliance Navigating Towards Unity. Born to a German mother and a Nigerian father in England, Adé relocated to Cologne, Germany in recent years. Adé was almost 16 years old when his father was murdered by armed robbers. He speaks of the therapeutic importance of music, “food for the soul.” He unites his multicultural influences both sonically and politically, both personally and publicly. His spicy AfroPean stew is a natural blend of the most converse elements of both continents’ traditions. Drawing from his forefathers’ roots and his experience of the African diaspora alike, he uses the variety of urban styles and sounds to contribute another shade to the soundtrack of a global Africa: profoundly rooted in Yoruba history yet dripping with Western production standards, deeply sensual yet utterly spiritual, thoroughly individual yet highly political. The political aspect was exercised effectively with AfroGerman musical pressure group Brothers Keepers. The all-star ensemble, masterminded by Adé Bantu (as he is also known), combines artistic versatility with a clear political statement. It takes the most outspoken stand against racist
violence in the country yet. And they took it right into the mainstream, to the very top of the German charts. Adewale Ayuba is the master of Nigeria’s next generation of Fuji music. As “Fuji Ambassador” he has started to spread the vibe of West African dancehalls from his Lagos club, Skindles, straight to the Americas, Europe, and beyond. Known for his captivating vocal arrangements and fluent drum patterns, he is particularly famous for his energetic live shows that can last up to seven hours. All the different shades and colors he almost excessively indulges in during the course of those performances have been jam-packed into his first international collaboration. They are the characteristic Fuji topics, rather explicitly dwelling on secular affairs, love’s mysterious ways, lust, and lubricity. There is the mingling of African and Western instrumentation, inspirationally transforming the seemingly mundane into states far more spiritual and deep. Finally, the constant reworking and revitalization of all the ingredients—from the ancient rituals of Ayuba’s African heritage to the varying styles and fashions of the West— is an absolute must. For in Fuji philosophy, what has become static has become meaningless. ariztos THE MAGAZINE
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...Happily Ever After Assessing what goes on in situations is always a good way to deal with the end of a relationship. by Chi Chi Johnson Illustration by Anneli Navi
S
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After...
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o word on the street is that she dumped you. But depending on who’s telling the story, you dumped her, maybe you both dumped each other. Actually what really happened was that both of you were both thinking about doing the dumping but she just happened to vocalize it first. Who cares about the details? Bottom line is the days of your ‘coupledom’, otherwise known as a breakup, are over. “It’s over!!” Sounds familiar? Not too long after those words, you will most likely go through the following stages: 1. Denial: Just like the word itself; at this point one or both parties involved in the relationship fail to recognize the problem which is most likely apparent to everyone else looking in from the outside. When you finally get over the denial then you are most likely going to deal with stage two. 2. Anger/Confusion: There are two parts to this; the person who is ending the relationship finds themselves getting overly aggravated by certain behaviors from the partner. In essence, negative emotions and attitudes are amplified. This result’s in the second part, the ‘dumpee’ feeling confused and off balance trying to figure out why his/her partner is always so negative suddenly. 3. We can work it out: Problems in the relationship are
finally acknowledged by one or both parties. The relationship may be fixed at this point especially if both parties realize that something is wrong and can communicate effectively to deal with it. However, one party may still be in either of the above stages; If one partner wants to communicate and deal with the problem, but the other is either still in denial or in the anger/confusion stage, it can be difficult to get to any kind of resolution. This ends up causing more friction which enables the end of the relationship. Although one party (usually the one getting left) may still hang on to the idea that the relationship still exists. During this stage: the ‘dumpee’ becomes obsessed with trying to fix the relationship and get the partner back. She/he may do things like keep in contact repeatedly and/or try to negotiate with the partner against ending the relationship. This does not necessarily result in the relationship being fixed but rather delays the advancement of both parties. 4. Grief: Clearly the relationship is over at this point. Grieving is a vital part of dealing; combined with seeking emotional and social support, it should not be avoided or hastened. 5. Autopsy: Analyzing what went wrong in the relationship and why it could not be salvaged. A person
may realize aspects such as behaviors, lifestyle, goals, etc that did not fit with theirs. This may result in: ‘Regrets’ ; the person who ended the relationship focuses on all the good things lost, while the person who was left has ‘Pleasant Surprise’; realizing that they can do without the negative aspects of the partner or the relationship. 6. I’m not the same person: Being single now takes precedence over how life was when in the relationship. Lifestyles and behaviors change according to individual discoveries, experience and preferences. 7. No going back: A combination of stages five and six; At this point the end of the relationship and its reasons are fully assessed, acknowledged and accepted. 8. Peace: culmination of all stages where the relationship no longer causes extreme feelings or behaviors and the person can finally move on positively. Although you may not go through all the stages and/or you may skip and return to certain stages. Assessing what goes on in situations is always a good way to deal with the aftermath of a terminated relationship. **Reference: Workshop on “Ending a Relationship” by SF State Health Educator Alberto Angelo M.S.Ed .
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Hip Hop has become one of the most popular form of music. So popular that on May 16th, 2001, the U.N. recognized ‘Hip hop’ as an international culture.
by Shawn Williams
M
any Africans have wondered why the popular hip hop artists aren’t getting more involved with the happenings in Africa. Actors like Don Cheadle and Danny Glover are certainly doing their part. Some may argue it shouldn’t be a priority for them, since they are, well Americans not Africans. Actually, along with scores of other hip hop and R & B artists, Mos Def, Kanye West, and Nas are all making Africa one of their priorities in different ways. Living in the United States, you’ll believe that with young black American culture right now, people do not perceive a connection to Africa that may eventually color their perception on several issues. Here’s what Mos Def has to say: “I think that some don’t care and most just don’t even know. There are black people suffering across the African continent and there are black people here in America that play a part in their suffering. I don’t think there’s been enough public awareness created about what’s happening in Africa. The diamond wars, the AIDS epidemic, the changes in government, ecological abuses. . . . What happens in Africa is not news that gets to African-Americans, so there’s never any relationship that African-Americans can have to Africa, and the Africans who come here—and
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Hip Hop
makes Africa
it’s priority the Caribbean and black people who come from other places—come with the idea that they are on a higher level than black Americans. They come with the idea that they’re more evolved, more educated.” “Here’s the deal: I’d love to see all the hard-core rhyme beats go to Africa to do a show . . . Go to J’burg [Johannesburg], Zimbabwe, Mozambique. Tupac [Shakur] never went to Africa. Jay-Z’s never gone to Africa. With a lot of artists, the reason they don’t go probably has less to do with them, and more to do with who they’re informed by. Who was going to tell [Tu]’Pac to go to Africa, Suge [Knight]? A lot of rap artists are suffering from bad company.”
It’s fair to say few American musicians of any race have made Africa’s struggles their cause, those that have leapt to action fastest and loudest are
white rockers. Over the years, the critical issues faced by African nations- AIDs, war, famine, etc- have failed to stir up the rap or R&B community to start a major movement on its own. But one artist of recent that is attempting to have the “hip hop community” aware of issues in Africa is Kanye West. Very rarely do you see a video that links black artists to Africa, but Kanye’s music video, “Diamonds” from his latest album, is a haunting clip featuring children laboring in diamond mines. Kanye noted that another hip hop artist, Q-Tip, told him about the bloodshed going on in some African countries regarding diamonds. Kanye wanted to address this in some way (Q-Tip told him about this after he had already finished the song) and decided to do so in the video (and
title) of this song. This is a rare find in hip hop nowadays. “I wanted to do whatever I could do to learn more and educate people about the problem,” says Kanye. Kanye also challenges a hip-hop jewelry favorite on the track, “Good morning, this ain’t Vietnam/ Still, people lose hands, legs, arms for real.” Later in the song, he asks, “These ain’t conflict diamonds, is they Jacob?” Lyrics like “I thought my Jesus piece was so harmless/’Til I seen a picture of a shorty armless” strikes awareness with the hip hop community that I hope other artists take note. Nasir “Nas” Jones, a junior high school drop out who educated himself about Africa, constantly mentions Africa in his lyrics in almost all of his albums. One of Nas’ songs, “I ariztos THE MAGAZINE
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Be, be, ‘fore we came to this country We were kings and queens, never porch monkeys It was empires in Africa called Kush Timbuktu, where every race came to get books...
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Can” illustrates a dialogical process in contemporary popular culture (while other artists aren’t rapping about anything flattering about Africa.
“Be, be, ‘fore we came to this country We were kings and queens, never porch monkeys It was empires in Africa called Kush Timbuktu, where every race came to get books To learn from black teachers who taught Greeks and Romans Asian Arabs and gave them gold when Gold was converted to money it all changed Money then became empowerment for Europeans The Persian military invaded They learned about the gold, the teachings and everything sacred Africa was almost robbed naked Slavery was money, so they began making slave ships Egypt was the place that Alexander the Great went He was so shocked at the mountains with black faces Shot up they nose to impose what basically Still goes on today, you see? If the truth is told, the youth can grow They learn to survive until they gain control Nobody says you have to be gangstas, hoes Read more learn more, change
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the globe Ghetto children, do your thing Hold your head up, little man, you’re a king young princess when you get your wedding ring, Your man is saying ‘She’s my queen’
Here’s what Nas has to say: “Peace is something that has been trying to take over the world since the beginning of time and without war, there is no peace. There has to be a balance. But, I know there is a lot more that the powerful people could be doing to help the people of the world and its not being done. The biggest businesses going around is People. We are our own cattle and we make money off each other. There is still slavery in Africa and a lot of Third Word countries. There’s still people starving, even in this country. There’s a sucker born everyday as Barnum Bailey once said and this turns out to be the biggest circus in the world. There’s money to be made off each other’s backs so, you gonna have fights, you gonna have wars. It’s reality and its something that I think about. It comes out in my music.”
Hip Hop music’s popularity can be used to leverage awareness in Africa. I hope these artists have laid a foundation to the rest of the community.
Lura Exposes Cape Verde’s Hidden Music by Rock Paper Scissors
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he music of Cape Verde—an archipelago 300 miles west of Dakar, Senegal—is a music of emigration. While the island nation’s best-known singer is Cesaria Evora, a young singer born and raised in Lisbon’s émigré community is presenting once-hidden Cape Verdean styles to American and European audiences. Her name is Lura and she releases Di Korpu Ku Alma (Of Body and Soul) on Escondida Music on May 17, 2005. The first European colonial town in Africa was founded in Cape Verde in 1462, three decades before Columbus set sail for the Americas. Cape Verde’s music reflects the mix of Portuguese and West African roots. But since traveling between Cape Verde’s ten islands is expensive, the populations on each island are distinct with their own personality and dialect. Cesaria Evora—from the island of Sao Vicente—is known for the European-inflected mornas and the faster-paced coladeras. Lura is part of a new generation of musicians rediscovering the hidden traditions of her ancestral homeland. Her music is inspired by the styles of Santiago—the most African of the islands, and the island from which her father came; styles such as batuku and funana. The African musical traditions of Cape Verde are still emerging now because the nation only gained independence in 1975, and prior to that the Church and the colonial government prohibited certain forms. The accordion-driven funana—which Lura performs—was considered
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too erotic. Originally a dozen or more women would beat the batuku rhythm on folded stacks of clothes (called tchabeta) held by their knees, while a lead singer improvised poetry lampooning or critiquing community happenings. A very sensual dance called torno accompanied the song form. “The women in Cape Verde spend a lot of time together, working and talking and that is how batuku started; from the women of Santiago,” Lura says. “Now I and others are making a kind of batuku, but singing alone, not in a group. I’m a little representation of batuku from Cape Verde.” Orlando Pantera, a young man who died in 2001, and who never released a studio album himself, wrote five of the CD’s batuku-style songs. “When I first heard his music, I fell in love,” Lura exclaims. “He expresses daily life of the Cape Verde people in a very unique way. His music and his words are very strong, and very Cape Verdean. I fell in love with him, but I never met him. When I found out he died, I felt this is something I can do for him. So his music lives on.” Drought and economic limitations drive many Cape Verdeans to live abroad. (There are nearly as many Cape Verdeans living in the U.S. as there are Cape Verdeans in Cape Verde!) “In the poems and lyrics of Cape Verde, we speak a lot about immigration,” explains Lura. “A lot of people move away to make a better living. We talk a lot about rain because there is so little rain. And we
talk about food, because sometimes it is very difficult to get food. A lot of things you have to buy from outside; from Portugal, the U.S., Holland. And we talk about the relationship between parents and their children, because so many families are far apart. But the words talk about immigration in a symbolic way.” “So Um Cartinha” is a song about letters, which are very symbolic in Cape Verde. The song pokes fun at a Cape Verdean custom of asking friends who are visiting Lisbon to take back “a little letter”, then presenting them with a fully packed trunk. “At the airport check in line, you can always tell who is going to Cape Verde, because they have the most luggage,” says Lura. “You have to bring a lot of souvenirs to everybody. ‘Oh Náia’ is a funny song about bringing something for everybody but your best friend, who gets mad at you. I am singing that I ran out of money. I did not even have enough money to pay the excise tax!” While they were on tour together, Cesaria Evora inspired Lura to write “Tem Um Hora Pa Tude” (“There is a Time for Everything”). Cesaria is known for continuing to live a simple life; not impressed by her late-in-life fame, nor by the European and American cities she has toured. The song says, “With my beloved, there’s never a time when I don’t have everything.” A time for everything indeed. And it is time for America to hear the voice and passion of Lura on her new CD. Visit www.luracriola.com to purchase her CD.
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Zim Expo 2005 by Jelili Ojodu
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Africa’s Next Top Model Contest Fall Issue 2005
Winner Name: Onyinyechi Okoronkwo From: Nigeria Education: Bachelor of Arts – Dramatic Writing and Political Science, New York University, NY
Measurements: Height: 5feet 9inches Weight: 120lbs Eyes: Brown
Think you got what it takes to be Africa’s Next top Model? Send in those photos and find out. Email Deydey at adea@ariztos.com for more details.
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Onyinyechi was the President of the Drama Club in high school and was also an active member of the Fashion Business Association while attending NYU. Onyinyechi is an aspiring model/actress.
he 2005 Zimbabwe Expo (ZimExpo) was held during the Memorial Day Weekend at the Crystal Gateway Marriott in Arlington, Virginia. Hundreds of Zimbabweans and Africans from around the globe attended this annual event. The three-day event included exhibitions, panels sessions with guest speakers, the second annual Miss ZimUSA Beauty pageant and fashion Show, a picnic and talent & awards ceremony. The Exhibitions on Saturday were well attended with over 20 companies selling featuring goods and services that included real estate, investment shares, radio programming subscription, Zimbabwe groceries furniture, and cultural outfits. Saturday night featured the 2nd annual Miss ZimUSA Beauty pageant and Fashion Show. Fifteen gorgeous beautiful women graced the stage to show talent and beauty. In the end, Rudo Change was crowned Miss ZimUSA 2005, with Sylvia Chimhina and Charmaine Zondo chosen as the first and second princesses respectively. Over five hundred Zimbabweans and other Africans showed at the park on Sunday for the BBQ and soccer games. The afternoon also saw five teams battle it out for the ZimExpo Trophy. The Dallas team which saw Irvin “Bob” Ndlovu produce the goal of the tournament claimed the trophy. Talent and Awards ceremony concluded the Expo on Sunday night. The main highlight during the show was poet Nick Zemura who mesmerized the audience with his astute poems. Nick has performed on Russell Simmons HBO’s Def Poetry Jam. The night ended with dinner and an after party. Special thanks to the ZimExpo organizing committee of Anesu Manjengwa, Tich Mpariwa, Quiet Ncube, Nya Kadenge, Mariole Nzuwah, Suku Ncube, and Chris Masikati for a splendid event and for inviting Ariztos to share in the festivities. The 2006 ZimExpo will be held in Chicago. For more information, please see http://zimexpo.com.
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Spend Wisely
In a New Age of Credit 22
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orty years ago, debt was almost unheard of. Your parents most likely paid cash for their first homes and cars with family and friends as their financial backers. That was then, debt is now. Today, debt and instant credit are part of our everyday vocabulary. Americans are carrying a total of $683 billion in credit card debt alone according to a recent MSN Money report. That is not the amount charged every month but rather the outstanding unpaid balances on which people pay interest. The Case for Credit In today’s modern economy consumers are using credit cards as a form of payment for just about everything, from paying your rent to purchasing gas, groceries and fast food. There are many reasons for this trend, first and foremost convenience. Not having to carry cash with you wherever you go is often an easier and safer way to make
purchases. Using cards can also be rewarding if you have aligned your card spending with an attractive rewards program that pays you back (perhaps with a cash rebate or with double rewards points) for your purchases. Credit cards also help to establish a history of financial responsibility and are often mandatory for certain situations, such as booking a hotel room or renting a car - they are a modern necessity. Those who don’t have any credit cards at all can be denied a loan or credit when they really need it. But knowing that credit cards are
now an integral part of our modern financial lives also begs the question - how many credit cards should you have? A good start would be to have far less then the Guinness Book of World Record holder, Walter Cavanagh who has 1,397 individual valid credit cards. Typically, you should consider holding approximately three to six credit cards, but unfortunately there is no magic number. Every person has his/her unique financial situation and individual credit card needs, depending on their spending habits and lifestyle, business needs and more.
Spending Wisely - Factors to Consider Simplicity - Make sure you can keep track of the credit cards you have and pay them on time. Owning fewer cards may make it easier to have control over your total debt load. You should think twice about having numerous credit cards for individual retail stores and gas stations. These stores often accept the credit cards you already own. Plus, retail and gas station cards tend to charge a higher interest rate than other cards. Better Credit Rating - The comariztos THE MAGAZINE
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mon misconception is that in order to build a good credit rating you need to have more cards with higher credit limits, but having too many cards with high credit limits or having high unpaid balances can limit your access to car or mortgage loans. Reduce Temptation - The more credit cards you have the easier it is to over spend and get into debt problems. Rewards - Building rewards through loyalty programs with a few choice cards, such as Membership Rewards from American Express, can build more valuable redemption opportunities if collected on fewer cards. You can redeem points for airline miles, hotels rooms, and gifts. Managing Your Credit Cards and Debt Regardless of how many credit cards you have it is important to use them responsibly. To help, here are some strategic steps for opening and managing credit card accounts: Step 1: Know Your Cards Before you sign up for a card, ask yourself some key questions, such as: Does your credit card have an annual fee? Are there grace periods? What
are the penalties if you are late or miss a payment? How valuable is the rewards program for the things that are most important to you? Then find out exactly what your credit limit and interest rates are for your credit cards. Step 2: Pay In Full A good strategy is to have credit cards for convenience and pay the balance each month in full. If you are unable to pay in full each month, make sure to pay more than the minimum each month. Another option is to use a charge card, which is payable in full each month. This can help you stay on budget and because it’s payable in full each month, there’s no interest charges. Step 3: Keep Your Credit Spending in Check A good rule of thumb, to keep your spending in check, is to make sure your credit card payments will not total more than 15 to 20 percent of your current income, after housing costs. Step 4: Canceling a Card If you need to cancel a card do not simply cut it up. You must notify your credit card company that you want to cancel otherwise the card will
remain on your credit report. Step 5: Seek Help A qualified financial advisor can help you create and manage a comprehensive financial plan to help you reduce your debt, use credit cards responsibly and reach your long term goals.
Rita Cheng, CRPC, CFP® Financial Advisor American Express Financial Advisors Inc marguerita.m.cheng@aexp.com
This information is provided for informational purposes only. The information is intended to be generic in nature and should not be applied or relied upon in any particular situation without the advice of your tax, legal and/or your financial advisor. The views expressed may not be suitable for every situation. American Express Financial Advisors Inc. Member NASD. American Express Company is separate from American Express Financial Advisors Inc. and is not a broker-dealer.
F EMIKUTI A I W A ! FROBEAT S
ELL AND
LIVE
by Julie Acquah 24
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he stage at the 9:30 club in Washington, DC begins to vibrate to the beats and sounds from the band members. A trio of gorgeous ladies enters the stage, gyrating their bodies in the most sensual way, to the astonished audience who has forgotten about how wet they are from standing in the heaviest rain outpour the city has seen this year. The artist comes out shortly, playing the keyboard in the most energetic way I’ve ever seen, to the applause of the exuberant audience. This is part of an annual tour in the United States and Europe, and Femi Anikulapo Kuti never fails to leave his audience wanting more. Born in June 1962 in Lagos, Nigeria, Femi has become a musical icon in most parts of the world. Thirteen years into a solo career that began in the daunting shadow of his father, Fela Anikulapo Kuti, Femi Kuti is facing the prospects of extending his father’s legend by actually surpassing it. This might be blasphemous to longtime fans of Afro-beat, the music that Fela created in the ‘70s by merging American funk with traditional
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African rhythms, but Femi Kuti is indeed improving on his father’s work, both musically and politically. Femi first rose to fame in 1985 when he appeared in place of his father at the Hollywood Bowl after Fela was arrested at Lagos Airport on a dubious fraud charge. Femi delighted the audience with the same strident saxophone style and selfassured stage presence of his father. Rarely would you read or see about Femi without reading or hearing about his father, Fela. And this does not bother Femi one bit. “It’s the heritage, and you can not take one piece without the other piece,” he says. “It’s about the African way of life and and this is my life. My life revolves around the politics and the spiritual way and the way we live, so it’s all part of it. And I think that the people here already see me like that.” Femi’s music is intense and it embodies delightful and shindig melodies. And he brings it to the stage all the time, sometimes with
hard hitting in his lyrics. Some of his sociopolitical lyrics has provoked the authorities in Nigeria, a specialty he undoubtedly inherited from Fela. “My music is supposed to give hope and liberated. You see, I will sing music despite what the authorities decides is best for the people. I am not afraid of any force or those who try to prevent me in any way. I am not afraid to die. Even those who kill will die one day.” Femi says, resonating his father’s name Anikulapo (having control over death) Kuti (death cannot be caused by human entity). While on tour, Femi doesn’t shy away from trying to tell Europeans and Americans about the crisis in Africa, the corruption and the evil things going on in Africa. “I perform in Europe and America to tell them to put pressure to governments in Africa,”: he says. “There’s a good 30 years that a number of African musicians have raised critical questions of the way
African countries are being governed. There has been a lot of talking issues of injustices but little justice is being done. The problem of Africa is how many things a person owns, how much money, cars, houses but when we die we will all be put in one coffin,” he says philopshically. While I recommend buying Femi’s albums (his latest, Africa Shrine, is out in stores now), you wouldn’t fully enjoy (or get inspired) until you see him in live concerts. He is as funny as much as he is a teacher. He showcases his voice as an instrument to touch on issues of human rights, provision of shelter, good education and good governance. To a lot of people, Femi holds a remarkable place in our hearts. “My music gives hope to many lives,” he says. He just might be the hope Africa needs.
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Perfected Praise and FOCUS HOW DAVID GOT HIS GROOVE BACK, a concert performed in August 2005 by Perfected Praise choir and FOCUS dance group of the church Jesus House, DC.
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erfected Praise, also popularly known as PP, was formed over five years ago. The group includes very talented and highly inspirational young adults between the ages of 18 and 30, who love to sing all kinds of music and in different languages. They are the resident choir of the young adult ministry of Jesus House called King’s Court. FOCUS (Fulfilling Our Call Unleashing Steps) is a group of young adult Christians seeking to pursue their own artistic visions and performance opportunities in a col-
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laborative environment while still having time for their academics, families, careers and other pursuits. FOCUS is a group of young men and women who create inspirational dances that are technically powerful, soulfully expressive and profoundly meaningful. FOCUS unifies movement such as Hip Hop, Latin, African and urban dance, bringing the knowledge of self, collective creativity and cultural consciousness. FOCUS was formed in 2000 by Wale Odusanya to empower youths and to minister to young unbelievers that are yet to know Christ.
The main aim of the concert was to tell a story from the bible of David’s life through dance and drama. The concert was based on the key events that took place in the life of David, starting from when he gained recognition after killing goliath up until when his son died and David cried out to God for repentance. The concert was both energetic and entertaining. The audience definitely anticipated and grooved every minute of the show. We can’t wait to see what’s in stock next time.
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The Thula Sizwe Story Josh Aleemuddin I had the opportunity to watch Thula Sizwe, a high energy 11-man a cappella group from South Africa perform in Washington, DC to help raise money for the victims of the Hurricane Katrina and other organizations supporting AIDS, handicapped children and education back in their community in South Africa. In 1988, while he was working in a vanadium mine, Jabulani Abel Dlamini met a group of men who were singing together. Abel joined with the group as its leader, and Thula Sizwe was born! As with most performance groups, members come and go over the years, but there are still three members who had been part of the group Abel joined: Paul Ramafalo, Jonathan Mabuya, and Nicholas Lenkwato. Johannes Magana and
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Alfred Letsoalo (the group’s drummer) joined with Abel in 1988. Sipho Mgiba joined Thula Sizwe in 1989, and four new members joined up in 2004: Sikhumbuzo Zikalala, Zobaphi Mchunu, Kwenza Ngubane, and Isaac Mlambo. The musical style of Thula Sizwe is based in ancient Zulu cultural traditions. Abel learned many of the dances from his father, who learned them from his father, and so on, for many generations. The tradition of competitions between different singing groups became very popular in the apartheid era, when many men lived far from their families in order to work. The men would form groups to sing and dance to entertain themselves in these times of isolation. The members of Thula Sizwe sup-
port disadvantaged people from their native South African communities, including an organization called, Heartbeat, which is a church-based group that trains community women to supervise households that are headed by children because both parents have died from AIDS. Thula Sizwe has performed all over the world including places such as Ghana, the Congo, China, Israel, Russia, Germany, and Great Britain. Not only was the evening entertaining, but it also offered many of us a unique opportunity to get a glimpse of a culture. It was a joyous concert of uplifting voices, dance and heartpounding percussive rhythms. And each performance told a story that we, the audience, will forever cherish.
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Moji Olaya’s Nollywood Movie Premiere in London
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1. Dele with friends 2. Star actor Dele Odule having a chat with some female fans 3. Queen Aberuagba 4. Aberugba as the MC 5. Jumoke with Ebun Olaiya 6. Sadi, Toyin and Ebun Oliya 7. Dj Abass, Moji and Phillip Dada of Sound Image 8. Moji with her associate producer, Basirat Olusesi 9. Saidi with Black Variety Host, Ronke Apampa 10. Lanre Adegun and Segun Fash
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