Olufela Olusegun Oludotun Ransome-Kuti (15 October 1938 – 2 August 1997 ), … Read Full Bio ↴Olufela Olusegun Oludotun Ransome-Kuti (15 October 1938 – 2 August 1997 ), known professionally as Fela Kuti, Fela Anikulapo Kuti, or simply Fela, was a Nigerian multi-instrumentalist musician and composer, pioneer of Afrobeat music, human rights activist, political maverick & leader of Fela Ransome Kuti & Africa 70.
HMV Magazine ranked him as #46 on a list of the 100 most influential musicians of the 20th century.
The musical style performed by Fela Kuti is called Afrobeat, which is essentially a fusion of jazz, funk, highlife, and traditional Yoruban chants and rhythms. It is characterized by having African-style percussion, vocals, and musical structure, along with jazzy, funky horn sections. The endless groove is also used, in which a base rhythm of drums, shekere, muted guitar, and bass guitar are repeated throughout the song. His band was notable for featuring two baritone saxophones, whereas most groups using this instrument only use one. This is a common technique in African and African-influenced musical styles, and can be seen in funk and hip-hop. Some elements often present in Fela's music are the call-and-response within the chorus and figurative but simple lyrics. Fela's songs were almost always over 10 minutes in length, some reaching the 20- or even 30-minute marks, while some unreleased tracks would last up to 45 minutes when performed live. This was one of many reasons that his music never reached a substantial degree of popularity outside of Africa. His songs were mostly sung in Nigerian pidgin, although he also performed a few songs in the Yoruba language. Fela's main instruments were the saxophone and the keyboards, but he also played the trumpet, guitar, and took the occasional drum solo. Fela refused to perform songs again after he had already recorded them, which also hindered his popularity outside Africa. Fela was known for his showmanship, and his concerts were often quite outlandish and wild. He referred to his stage act as the Underground Spiritual Game.
Fela was born Olufela Olusegun Oludotun Ransome-Kuti in Abeokuta, Ogun State, Nigeria, to a middle-class family. His mother, Funmilayo Ransome-Kuti, was a feminist activist in the anti-colonial movement and his father, Reverend Israel Oludotun Ransome-Kuti, a Protestant minister and school Principal, was the first president of the Nigerian Union of Teachers. His brothers, Dr. Beko Ransome-Kuti and Professor Olikoye Ransome-Kuti,both medical doctors, are both well known in Nigeria.
Fela was sent to London in 1958 to study medicine but decided to study music instead at the Trinity College of Music. While there, he formed the band Koola Lobitos, playing a style of music that he would later call Afrobeat. The style was a fusion of American Jazz, psychedelic rock, and Funk with West African Highlife. In 1961, Fela married his first wife, Remilekun (Remi) Taylor, with whom he would have three children (Femi, Yeni, and Sola). In 1963, Fela moved back to Nigeria, re-formed Koola Lobitos and trained as a radio producer for the Nigerian Broadcasting Corporation. In 1969, Fela took the band to the United States. While there, Fela discovered the Black power movement through Sandra Smith (now Isidore)—a partisan of the Black Panther Party—which would heavily influence his music and political views and renamed the band Nigeria ’70. Soon, the Immigration and Naturalization Service was tipped off by a promoter that Fela and his band were in the US without work permits. The band then performed a quick recording session in Los Angeles that would later be released as The '69 Los Angeles Sessions.
Fela and his band, renamed Africa '70, returned to Nigeria. He then formed the Kalakuta Republic, a commune, a recording studio, and a home for many connected to the band that he later declared independent from the Nigerian state. Fela set up a nightclub in the Empire Hotel, named the Afro-Spot and then the Afrika Shrine, where he performed regularly. Fela also changed his middle name to Anikulapo (meaning "he who carries death in his pouch"), stating that his original middle name of Ransome was a slave name. The recordings continued, and the music became more politically motivated. Fela's music became very popular among the Nigerian public and Africans in general. In fact, he made the decision to sing in Pidgin English so that his music could be enjoyed by individuals all over Africa, where the local languages spoken are very diverse and numerous. As popular as Fela's music had become in Nigeria and elsewhere, it was also very unpopular with the ruling government, and raids on the Kalakuta Republic were frequent. In 1974 the police arrived with a search warrant and a cannabis joint, which they had intended to plant on Fela. He became wise to this and swallowed the joint. In response, the police took him into custody and waited to examine his feces. Fela enlisted the help of his prison mates and gave the police someone else's feces, and Fela was freed. He then recounted this tale in his release Expensive Shit (now released together with "He Miss Road" as Expensive Shit/He Miss Road).
In 1977 Fela and the Afrika ’70 released the hit album Zombie, a scathing attack on Nigerian soldiers using the zombie metaphor to describe the methods of the Nigerian military. The album was a smash hit with the people and infuriated the government, setting off a vicious attack against the Kalakuta Republic, during which one thousand soldiers attacked the commune. Fela was severely beaten, and his elderly mother was thrown from a window, causing fatal injuries. The Kalakuta Republic was burned, and Fela's studio, instruments, and master tapes were destroyed. Fela claimed that he would have been killed if it were not for the intervention of a commanding officer as he was being beaten. Fela's response to the attack was to deliver his mother's coffin to the main army barrack in Lagos and write two songs, "Coffin for Head of State" and "Unknown Soldier," referencing the official inquiry that claimed the commune had been destroyed by an unknown soldier.
Fela and his band then took residence in Crossroads Hotel as the Shrine had been destroyed along with his commune. In 1978 Fela married 27 women, many of whom were his dancers, composers, and singers to mark the anniversary of the attack on the Kalakuta Republic. Later, he was to adopt a rotation system of keeping only twelve simultaneous wives. The year was also marked by two notorious concerts, the first in Accra in which riots broke out during the song "Zombie," which led to Fela being banned from entering Ghana. The second was at the Berlin Jazz Festival after which most of Fela's musicians deserted him, due to rumors that Fela was planning to use the entirety of the proceeds to fund his presidential campaign.
Despite the massive setbacks, Fela was determined to come back. He formed his own political party, which he called 'Movement of the People'. In 1979 he put himself forward for President in Nigeria's first elections for more than a decade but his candidature was refused. At this time, Fela created a new band called Egypt 80 and continued to record albums and tour the country. He further infuriated the political establishment by dropping the names of ITT vice-president Moshood Abiola and then General Olusegun Obasanjo at the end of a hot-selling 25-minute political screed titled "I. T. T. (International Thief Thief)."
In 1984, he was again attacked by the Military government, who jailed him on a dubious charge of currency smuggling. His case was taken up by several human-rights groups, and after 20 months, he was released from prison by General Ibrahim Babangida. On his release he divorced his 12 remaining wives, saying that "marriage brings jealousy and selfishness." Once again, Fela continued to release albums with Egypt 80, made a number of successful tours of the United States and Europe and also continued to be politically active. In 1986, Fela performed in Giants Stadium in New Jersey as part of the Amnesty International Conspiracy of Hope concert, sharing the bill with Bono, Carlos Santana, and the Neville Brothers. In 1989, Fela & Egypt 80 released the anti-apartheid "Beasts of No Nation" album that depicts on its cover U.S. President Ronald Reagan, UK Prime Minister Margaret Thatcher and South African Prime Minister P.W. Botha with fangs dripping blood.
His album output slowed in the 1990s, and eventually he stopped releasing albums altogether. The battle against military corruption in Nigeria was taking its toll, especially during the rise of dictator Sani Abacha. Rumors were also spreading that he was suffering from an illness for which he was refusing treatment. On 3 August 1997, Olikoye Ransome-Kuti, already a prominent AIDS activist and former Minister of Health, stunned the nation by announcing his younger brother's death a day earlier from Kaposi's sarcoma brought on by AIDS. (Their younger brother Beko was in jail at this time at the hand of Abacha for political activity). More than a million people attended Fela's funeral at the site of the old Shrine compound. A new Africa Shrine has opened since Fela's death in a different section of Lagos under the supervision of his son Femi Kuti.
HMV Magazine ranked him as #46 on a list of the 100 most influential musicians of the 20th century.
The musical style performed by Fela Kuti is called Afrobeat, which is essentially a fusion of jazz, funk, highlife, and traditional Yoruban chants and rhythms. It is characterized by having African-style percussion, vocals, and musical structure, along with jazzy, funky horn sections. The endless groove is also used, in which a base rhythm of drums, shekere, muted guitar, and bass guitar are repeated throughout the song. His band was notable for featuring two baritone saxophones, whereas most groups using this instrument only use one. This is a common technique in African and African-influenced musical styles, and can be seen in funk and hip-hop. Some elements often present in Fela's music are the call-and-response within the chorus and figurative but simple lyrics. Fela's songs were almost always over 10 minutes in length, some reaching the 20- or even 30-minute marks, while some unreleased tracks would last up to 45 minutes when performed live. This was one of many reasons that his music never reached a substantial degree of popularity outside of Africa. His songs were mostly sung in Nigerian pidgin, although he also performed a few songs in the Yoruba language. Fela's main instruments were the saxophone and the keyboards, but he also played the trumpet, guitar, and took the occasional drum solo. Fela refused to perform songs again after he had already recorded them, which also hindered his popularity outside Africa. Fela was known for his showmanship, and his concerts were often quite outlandish and wild. He referred to his stage act as the Underground Spiritual Game.
Fela was born Olufela Olusegun Oludotun Ransome-Kuti in Abeokuta, Ogun State, Nigeria, to a middle-class family. His mother, Funmilayo Ransome-Kuti, was a feminist activist in the anti-colonial movement and his father, Reverend Israel Oludotun Ransome-Kuti, a Protestant minister and school Principal, was the first president of the Nigerian Union of Teachers. His brothers, Dr. Beko Ransome-Kuti and Professor Olikoye Ransome-Kuti,both medical doctors, are both well known in Nigeria.
Fela was sent to London in 1958 to study medicine but decided to study music instead at the Trinity College of Music. While there, he formed the band Koola Lobitos, playing a style of music that he would later call Afrobeat. The style was a fusion of American Jazz, psychedelic rock, and Funk with West African Highlife. In 1961, Fela married his first wife, Remilekun (Remi) Taylor, with whom he would have three children (Femi, Yeni, and Sola). In 1963, Fela moved back to Nigeria, re-formed Koola Lobitos and trained as a radio producer for the Nigerian Broadcasting Corporation. In 1969, Fela took the band to the United States. While there, Fela discovered the Black power movement through Sandra Smith (now Isidore)—a partisan of the Black Panther Party—which would heavily influence his music and political views and renamed the band Nigeria ’70. Soon, the Immigration and Naturalization Service was tipped off by a promoter that Fela and his band were in the US without work permits. The band then performed a quick recording session in Los Angeles that would later be released as The '69 Los Angeles Sessions.
Fela and his band, renamed Africa '70, returned to Nigeria. He then formed the Kalakuta Republic, a commune, a recording studio, and a home for many connected to the band that he later declared independent from the Nigerian state. Fela set up a nightclub in the Empire Hotel, named the Afro-Spot and then the Afrika Shrine, where he performed regularly. Fela also changed his middle name to Anikulapo (meaning "he who carries death in his pouch"), stating that his original middle name of Ransome was a slave name. The recordings continued, and the music became more politically motivated. Fela's music became very popular among the Nigerian public and Africans in general. In fact, he made the decision to sing in Pidgin English so that his music could be enjoyed by individuals all over Africa, where the local languages spoken are very diverse and numerous. As popular as Fela's music had become in Nigeria and elsewhere, it was also very unpopular with the ruling government, and raids on the Kalakuta Republic were frequent. In 1974 the police arrived with a search warrant and a cannabis joint, which they had intended to plant on Fela. He became wise to this and swallowed the joint. In response, the police took him into custody and waited to examine his feces. Fela enlisted the help of his prison mates and gave the police someone else's feces, and Fela was freed. He then recounted this tale in his release Expensive Shit (now released together with "He Miss Road" as Expensive Shit/He Miss Road).
In 1977 Fela and the Afrika ’70 released the hit album Zombie, a scathing attack on Nigerian soldiers using the zombie metaphor to describe the methods of the Nigerian military. The album was a smash hit with the people and infuriated the government, setting off a vicious attack against the Kalakuta Republic, during which one thousand soldiers attacked the commune. Fela was severely beaten, and his elderly mother was thrown from a window, causing fatal injuries. The Kalakuta Republic was burned, and Fela's studio, instruments, and master tapes were destroyed. Fela claimed that he would have been killed if it were not for the intervention of a commanding officer as he was being beaten. Fela's response to the attack was to deliver his mother's coffin to the main army barrack in Lagos and write two songs, "Coffin for Head of State" and "Unknown Soldier," referencing the official inquiry that claimed the commune had been destroyed by an unknown soldier.
Fela and his band then took residence in Crossroads Hotel as the Shrine had been destroyed along with his commune. In 1978 Fela married 27 women, many of whom were his dancers, composers, and singers to mark the anniversary of the attack on the Kalakuta Republic. Later, he was to adopt a rotation system of keeping only twelve simultaneous wives. The year was also marked by two notorious concerts, the first in Accra in which riots broke out during the song "Zombie," which led to Fela being banned from entering Ghana. The second was at the Berlin Jazz Festival after which most of Fela's musicians deserted him, due to rumors that Fela was planning to use the entirety of the proceeds to fund his presidential campaign.
Despite the massive setbacks, Fela was determined to come back. He formed his own political party, which he called 'Movement of the People'. In 1979 he put himself forward for President in Nigeria's first elections for more than a decade but his candidature was refused. At this time, Fela created a new band called Egypt 80 and continued to record albums and tour the country. He further infuriated the political establishment by dropping the names of ITT vice-president Moshood Abiola and then General Olusegun Obasanjo at the end of a hot-selling 25-minute political screed titled "I. T. T. (International Thief Thief)."
In 1984, he was again attacked by the Military government, who jailed him on a dubious charge of currency smuggling. His case was taken up by several human-rights groups, and after 20 months, he was released from prison by General Ibrahim Babangida. On his release he divorced his 12 remaining wives, saying that "marriage brings jealousy and selfishness." Once again, Fela continued to release albums with Egypt 80, made a number of successful tours of the United States and Europe and also continued to be politically active. In 1986, Fela performed in Giants Stadium in New Jersey as part of the Amnesty International Conspiracy of Hope concert, sharing the bill with Bono, Carlos Santana, and the Neville Brothers. In 1989, Fela & Egypt 80 released the anti-apartheid "Beasts of No Nation" album that depicts on its cover U.S. President Ronald Reagan, UK Prime Minister Margaret Thatcher and South African Prime Minister P.W. Botha with fangs dripping blood.
His album output slowed in the 1990s, and eventually he stopped releasing albums altogether. The battle against military corruption in Nigeria was taking its toll, especially during the rise of dictator Sani Abacha. Rumors were also spreading that he was suffering from an illness for which he was refusing treatment. On 3 August 1997, Olikoye Ransome-Kuti, already a prominent AIDS activist and former Minister of Health, stunned the nation by announcing his younger brother's death a day earlier from Kaposi's sarcoma brought on by AIDS. (Their younger brother Beko was in jail at this time at the hand of Abacha for political activity). More than a million people attended Fela's funeral at the site of the old Shrine compound. A new Africa Shrine has opened since Fela's death in a different section of Lagos under the supervision of his son Femi Kuti.
Opposite People
Fela Kuti Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Them go show o, them go show
Them go show themselves clear clear
Them go show o
Them go show o, them go show
Opposite people
Them go show themselves clear clear
Them go show
[Chorus]
Them go show!
Anywhere them dey
Anywhere them dey
Them go show themselves
Opposite people
Everyone dey dance
Dey dance for enjoyment (Dey dance!)
Everyone dey talk
Dey talk for communication (Dey talk!)
Everyone dey hear
Dey hear for ideology (Dey hear!)
Everyone dey think
Dey think for him progress (Dey think!)
Now now but look am, him don show himself
Opposite people
I say look am, him don show himself
Opposite people
I say look am, him don show himself
Opposite people
I say look the thing him don show himself
Everyone dey dance, him go push
Everyone dey talk, him go shout
Everyone dey hear, him go sleep
Everyone dey think, him go drink
Everyone dey dance (Him go push!)
Everyone dey talk (Him go shout!)
Everyone dey hear (Him go sleep!)
Everyone dey think (Him go drink!)
See, him don show himself
Him go dey shakara
Him go dey katakata
Him go dey shakara
[Chorus]
Him go dey shakara!
Him go dey katakata!
Him go dey shakara!
Them don show themselves
Opposite people
Them don show themselves
Him go dey shakara
Him go dey katakata
Him go dey shakara
Katakata put am together
Them go show themselves clear clear
Them go show o
Them go show o, them go show
Opposite people
Them go show themselves clear clear
Them go show
Them go show!
Anywhere them dey
Anywhere them dey
Them go show themselves
Opposite people
Everyone dey dance
Dey dance for enjoyment (Dey dance!)
Everyone dey talk
Dey talk for communication (Dey talk!)
Everyone dey hear
Dey hear for ideology (Dey hear!)
Everyone dey think
Dey think for him progress (Dey think!)
Now now but look am, him don show himself
Opposite people
I say look am, him don show himself
Opposite people
I say look am, him don show himself
Opposite people
I say look the thing him don show himself
Everyone dey dance, him go push
Everyone dey talk, him go shout
Everyone dey hear, him go sleep
Everyone dey think, him go drink
Everyone dey dance (Him go push!)
Everyone dey talk (Him go shout!)
Everyone dey hear (Him go sleep!)
Everyone dey think (Him go drink!)
See, him don show himself
Him go dey shakara
Him go dey katakata
Him go dey shakara
[Chorus]
Him go dey shakara!
Him go dey katakata!
Him go dey shakara!
Them don show themselves
Opposite people
Them don show themselves
Him go dey shakara
Him go dey katakata
Him go dey shakara
Katakata put am together
In Fela Kuti's song Opposite People, he addresses the issue of pretentiousness and hypocrisy in society. Fela uses the term "opposite people" to refer to those individuals who present themselves differently from who they really are in reality. The lyrics "Them go show o, them go show, them go show themselves clear clear" suggest that these "opposite people" will eventually reveal their true identities and intentions. Fela is warning individuals who are not true to themselves and others that they will eventually be exposed.
The song also highlights the importance of sincerity and genuineness in communication and thinking. Fela suggests that people dance for enjoyment, talk for communication, hear for ideology and think for progress. He asserts that individuals should do things with honesty, and not pretend to be someone or something they are not. Fela uses the example of an "opposite person" who not only dances for enjoyment but also pushes others while dancing, talks loudly instead of communicating, sleeps instead of listening and drinks instead of thinking.
Through this song, Fela Kuti wants to create awareness about hypocritical and pretentious behavior in society. He uses the catchy chorus, "them go show", to emphasize that sooner or later, people's true colors will be revealed. The song is a call for people to embrace sincerity, honesty, and genuine intentions.
Line by Line Meaning
Them go show o, them go show
They will reveal themselves, they will reveal themselves
Them go show themselves clear clear
They will show themselves unmistakably
Them go show o
They will reveal themselves
Opposite people
People with contrary behavior
Anywhere them dey
Wherever they are
Them go show themselves
They will reveal themselves
Everyone dey dance
Everyone is dancing
Dey dance for enjoyment (Dey dance!)
Dancing for pleasure
Everyone dey talk
Everyone is talking
Dey talk for communication (Dey talk!)
Talking for communication purposes
Everyone dey hear
Everyone is listening
Dey hear for ideology (Dey hear!)
Listening for ideological reasons
Everyone dey think
Everyone is thinking
Dey think for him progress (Dey think!)
Thinking for one's progress
Now now but look am, him don show himself
See, he has revealed himself now
Him go dey shakara
He will be showing off
Him go dey katakata
He will be causing commotion
Him go dey shakara!
He will be showing off!
Him go dey shakara
He will be showing off
Katakata put am together
All the chaos will unite him with opposite people
Contributed by Logan P. Suggest a correction in the comments below.
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seyi ogs
Them go show o, them go show (They’d show themselves)
Them go show themselves clear clear (Show themselves clearly)
Them go show o
Them go show o, them go show
Opposite people
Them go show themselves clear clear
Them go show
Them go show!
Anywhere them dey (Anywhere they are)
Anywhere you dey
Them go show themselves (They’d show themselves)
Opposite people
Everyone dey dance
Dey dance for enjoyment (Dey dance!) (Everyone is dancing for enjoyment)
Everyone dey talk
Dey talk for communication (Dey talk!) (Everyone is talking for communication)
Everyone dey hear
Dey hear for ideology (Dey hear!) (Everyone hears for ideology)
Everyone dey think
Dey think for him progress (Dey think!) (Everyone is thinking for his progress)
Now now but look am, him don show himself (Look now they have shown themselves)
Opposite people
I say look am, him don show himself (look at him he’s shown himself)
Opposite people
I say look am, him don show himself
Opposite people
I say look the thing him don show himself
Everyone dey dance, him go push (Whilst everyone is dancing, he’d push)
Everyone dey talk, him go shout (Whilst everyone is talking, he’d shout)
Everyone dey hear, him go sleep (Whilst everyone is listening, he’d sleep)
Everyone dey think, him go drink (Whilst everyone is thinking, he’d be drink)
Everyone dey dance (Him go push!)
Everyone dey talk (Him go shout!)
Everyone dey hear (Him go sleep!)
Everyone dey think (Him go drink!)
See, him don show himself
Him go dey shakara (He’d be flexing)
Him go dey katakata
Him go dey shakara
Him go dey shakara!
Him go dey katakata!
Him go dey shakara!
Them don show themselves (They’ve shown themselves)
Opposite people
Them don show themselves
Him go dey shakara
Him go dey katakata
Him go dey shakara
Katakata put am together (Flexing put together equals disruption)
MissRandomComment
My skin is fair, my eyes are green, my hair is as straight as a pin, my momma never taught me how to dance
But when I hear good music it hits me right in my soul and travels from my heart all through my body
I don't quite know what to do with myself but I do know it's a blessing to be able to give and receive love in it's universal language of music
Lee Kosmin
Totally agree!
G. Luigi Rota
Loved your comment, made my smile of the day
Kashope Ola
Listening to the way the musical instruments is being used all together and giving it beautiful sounds, it's just so overwhelming and his lyrics are bomb. This baba is a Genius
Hatshepsut Ma'at Re
Agree
Incredible ....
The thing that lives in my sink
Fela Kuti is like a drug to me, can't get enough of this, and every time I hear it my serotonin levels shoot into the stratosphere.
genlob
I came across Fela by chance at Glastonbury mid 1980s. I hadn't heard any African music up till then. I was stood at the top of the hill overlooking the main stage (the original market, for those old enough to remember) when I became aware of this magnetic, hypnotic thing drawing me like a moth to the flame towards the main stage. It was almost a physical thing, like an incessant heartbeat, urging me forward.
There on the stage under the pyramid, stood a horn section from the gods, the best drummer in the world, dancers that moved like big cats and a force of nature out in front. A hurricane of a man. I was blown away. Quite simply the best gig I've ever been to.
And this song is my favourite of his. It's an absolute stonker.
Thank you Fela for enriching my life.
アンダーソン
genlob peace
SuperBuckwheat11
Great description. Must have been one hell of a show.
Motlatsi Motlhamme
@SuperBuckwheat11 maybe what fela calls power show