A Quote by Fela Kuti

I'm playing deep African music. — © Fela Kuti
I'm playing deep African music.
Michael Jackson fundamentally altered the terms of the debate about African American music. Remember, he was a chocolate, cherubic-faced genius with an African American halo. He had an Afro halo. He was a kid who was capable of embodying all of the high possibilities and the deep griefs that besieged the African American psyche.
I did not like that name "world music" in the beginning. I think that African music must get more respect than to be put in a ghetto like that. We have something to give to others. When you look to how African music is built, when you understand this kind of music, you can understand that a lot of all this modern music that you are hearing in the world has similarities to African music. It's like the origin of a lot of kinds of music.
One of the things that made the Black Muslim movement grow was its emphasis upon things African. This was the secret to the growth of the Black Muslim movement. African blood, African origin, African culture, African ties. And you'd be surprised - we discovered that deep within the subconscious of the black man in this country, he is still more African than he is American.
As a youngster, my parents made me aware that all that was from the African Diaspora belonged to me. So I came in with Caribbean music, African music, Latin music, gospel music and blues.
Everything I do, I'm always playing music. When I wake up in the morning, I'm playing music. When I'm showering, I've got music playing. When I go to the field, music is playing.
Congolese rumba was so huge in Africa that everybody was inspired by it. But my African roots brought me this music. In every African family, parties in Brussels, we used to listen to this kind of music. And salsa music as well.
What you have to understand is that blues... it's in a line from the oldest forms of African music. If you're playing it like it's an echo of the past, it would be a lot less exciting, but this music lives today.
I base myself in African-derived music. Blues is one of the modern forms of African music.
I haven't really ever seen a big budget Hollywood film with African music. Most of the time, it's just Hollywood's perception of what African music is.
You say 'African music' and you think 'tribal drumming.' But there's a lot of African music that's like James Brown, and a lot, too, that sounds very Hispanic.
I joke that one of the rare times Egyptians identify as African is when the national soccer squad is playing in the African Cup of Nations - and preferably winning it.
People like to compartmentalise music, especially African-American music, but it's really one thing. One very wide thing. I mean, it's like all those great records by Marvin Gaye and James Brown back in the day - there are tonnes of jazz musicians playing on them.
What I love about African-African music is how unselfconscious it is in so many ways.
The African people and tribal chiefs are hospitable, and African music and dances are invigorating.
As far as being an African artist, my inspiration has been the fact that I'm a part of the generation that will put Nigerian African music on a global scale. It's been a long road for us, but I believe we're finally at that point where we can showcase our music to the world and get international recognition.
I was always playing with whatever I could get under my hands, making rhythm with it, which was natural for me, because my parents were listening to a lot of African music.
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