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The Indie Artist You Need to Listen to This Month: Femi

Get into Femi's latest single "Señorita."

This series features the most exciting independent and alternative artists from Africa and its diaspora. Black artists are complex and multidisciplinary. Every month, we'll introduce the hottest, boldest musicians out there that you need to listen to.

Femi is a rapper/singer/musician who hates being put in a box. His new EP, From Spain With Love, is a fusion of flamenco, jazz and funk inspired by Amílcar Cabral living in Portugal while actively fighting for African countries' independence. It's an EP about dreams, regrets and life outside of a nation's borders in which Femi mixes his Nigerian-Americanness with a multitude of other inspirations to create a unique blend.


As far as musician names go, it's not easy to stand out making Afro diasporan-influenced music when your first name is Femi and your last name not Kuti. Not that Femi cares much about it, "Femi isn't a particularly uncommon name in my ethnic group," he explains. "My music sounds the way it does because I've spent so much of my life in places where Femi is a weird name. I stand out among others and we have to figure out how to relate to each other despite being culturally out of pocket. That said, if niggas can go by 'Miguel' out here (no shade) I figure the world's ready for a Femi!"

How has Spanish music inspired this new EP ?

Flamenco music inspired me to learn guitar in the first place, which changed how I write and think about music. I'd heard plenty of guitar-centered music growing up in the States, from rock to folk, but none had inspired me to learn the guitar until I heard what Paco de Lucía did with a guitar.

I started reading about Amílcar Cabral, the African revolutionary who fought against Portugal for independence for Cape Verde, Guinea, and Angola and was one of the greatest political minds. How was it like for him to live and study in the capital of Portugal, the literal fascist state that controlled his country? Like jazz or funk music, flamenco is also a style of music associated with an oppressed people, especially Romani people. What did he listen to over there, what songs would he have written and what ideas would he have had if music had been his thing? Things snowballed from there.

When did you start making music?

I started making music as a kid as a way of rebelling against learning music the way I was being asked to. My parents had me in piano lessons because they thought it was the respectable instrument to learn. But they had me learning the classical stuff. My piano teacher did her best to encourage it, she even let me perform my own compositions [but] eventually my parents stopped trying and I dropped out of piano lessons.

In high school, I played saxophone in school bands. The deeper I got into jazz band and wanting to learn to improvise, the more I realized that what had really prepared me for that were the piano lessons I had brushed off. So I went back to piano and soon after that wrote my full songs with chords and lyrics.

How would you describe your music?


The most accurate description might be something like "experimental pan-African music," which is pretty far from anything I would have guessed even about myself. I grew up moving between (at least) two very different music cultures: the Nigerian diaspora community where I grew up on one hand, piano lessons and classical music on the other.

In that latter one, music seemed like a specialized thing, largely compartmentalized from other parts of life. When you went to see an orchestra perform, music was something the orchestra was doing. Your role was to sit down and pretended you knew what was going on, then when the conductor gave you the sign, then you clapped.

In the other, music seemed more like a shared everyday thing. It was tied intimately to dancing and the rhythmic organization had to be at least somewhat consistent and decipherable for non-musicians—the philosophy of groove. Song and dance could be led by anybody, musician or not, and it could happen anywhere: bible study, parties, funerals. It was built by everyone who was singing or dancing. It seemed to me to connect a lot of really geographically distant styles of music like Afro-Brazilian, Afro-Cuban music, genres from the UK pioneered by Africans and West Indian producers, highlife.


What's your inspiration when it comes to lyrics?

From Spain With Love was a concept album about immigration. Each track covers a section of the main character's life, and each song was a letter sent home at different points of his life after emigrating from Cape Verde to Spain. For this project, I thought about my parents immigrating to the States from Nigeria, what dreams were deferred to chase this one and what they must have thought about the families they built here and the families they left behind.

Writing lyrics is a place where we can try to speak about our lives with the kind of honesty we might not be willing to in actual interactions, when relationships and reputations are on the line. A lot of pop music, especially hip-hop, has gone in the other direction: we sing along to songs about experiences fewer and fewer of us have any real sort of access to.

How did you come up with the visuals for the music video Señorita?

The director, Rob Rodriquez, did a great job of representing the overall story and themes of the whole EP using just "Señorita." The water theme was especially powerful: Cape Verde is a chain of islands and served as a midway point on the Trans-Atlantic slave trade, and I had always imagined the protagonist immigrating by sea.

What are your future plans, music wise?

I like the idea From Spain With Love started me on, of organizing my music around places. I've got a couple other EPs in the works in that vein: From Indiana With Love where I concentrate on more of the soul and Americana influences, and From Mars With Love where I focus on the jazz, funk, and fusion sides of things and play with the sort of space-y Afrofuturist aesthetic those cats were on. Down the line I'd really like to do a Cuba-themed project.

There are some remixes coming out with Señorita, produced by DJ Broso, a friend and longtime collaborator. He's a first generation kid like me—of Garifuna heritage, now based out of Honduras, and produces tropical music with influences from throughout the diaspora. He always has a fresh and unexpected take on whatever we listen to or make together and these remixes are definitely no exception to that.

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The front page of The New York Times on January 16, 2019

Kenyans Are Furious at the New York Times for Posting Photos of Terrorist Victims

After the the deadly attack on Tuesday, many are accusing the American newspaper of having a double standard on which dead bodies they allow into the paper

Is the New York Times guilty of a double standard when it comes to publishing images of dead bodies?

Kenyans, and others fed up with the coverage, took to social media in the hundreds to denounce a Times article that included an image of victims of Tuesday's Nairobi terrorist attack, bloodied from bullets, and lying hunched over their laptops, dead.

It has cause enough debate online to where the Times' incoming East Africa Bureau chief Kimiko de Freytas-Tamura felt the need to explain their photo policy, which is to show the dead only if their faces cannot be seen in the image. The photo in question fits the policy as the faces are facing away from the camera. She would later apologize before posting the official policy to her Twitter account. The photo remains up.

The Times' official response, as those tend to do online, has only created more anger. But unlike many unruly Twitter mobs, those responding to the official statement have a rather coherent message—"you wouldn't do this with photos of the American dead."

Some of the responses to the Times' official statement.

In a response to the controversy from the Poynter Institute, a typically astute observer of journalistic practice in the United States, they run through the typical American journalism school approach to publishing photos that might shock or offend. They write:

Should the Times have run the photo?
There is no easy answer.
The first question any news organization must ask when deciding to publish violent images is: WHY show it?
In other words, what is the news value? Does the public need to see such an image to fully grasp what happened? Does the public need to see such a photo to confirm or disprove the official account of the events?
An argument could be made that a writer's words could accurately describe the scene without being as disturbing as the image. In addition, when it comes to an act of terrorism, might publishing such a photo actually advance the cause of the terrorists, showing the damage they caused, thus fueling dread and panic?
Also this: The photo on the Times website came without warning. As a reader, you didn't know you were going to see a photo of dead people until you actually saw it.
Those are arguments to not run such a photo or, at least, warn readers of its graphic content.

While it's a fine analysis of when to show a violent image, it misses the central issue at play for those aggrieved by the Times' posting—that the American news-gaze values certain lives differently. Black, brown, foreign, poor—American journalism organizations, including the New York Times, cannot escape a base ethnocentrism in their coverage. It's so embedded into how these institutions operate, and the gap in understanding is so wide, that to much of the world, the Times' official response is laughably wrong at first glance.

"We take the same approach wherever in the world something like this happens--balancing the need for sensitivity and respect with our mission of showing the reality of these events"

And while there are examples from the Times that complicate this feeling, like these images of the dead in the terrorist attack in Nice, France, it doesn't discount the wider and correct feeling that the white victims of American mass shootings are treated differently than their African counterparts. And while there are complicated and systematic reasons for this which will always make discussing it difficult, to simply deny that different standards exist, does not increase the Times' credibility with Kenyans or the newspaper's growing online audience which will only become more vocal about how they're portrayed.

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Falz 'Moral Instruction'

The 10 Songs You Need to Hear This Week

The best music of the week featuring Falz, King Monada, Zlatan, Yemi Alade and more.

Every week, we highlight the cream of the crop in music through our Best Music of the Week column.

Here's our round up of the best tracks and music videos that came across our desks, which you can also check out in our Songs You Need to Hear This Week playlists on Spotify and Apple Music.

Follow OkayAfrica on Spotify and Apple Music to get immediate updates every week and read about some of our selections ahead.

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Violent Attack at Kenyan Hotel Ends With 14 Dead

The remaining hostages were freed after a 17-hour standoff between militants and Kenyan security forces on Wednesday.

The final hostages in the violent terrorist attack which took place at the DusitD2 Hotel in Naoribi's affluent Westlands district yesterday have been freed after a 17 hour standoff between Kenyan security forces and Al Shabab militants.

In a speech this morning, Kenya's President Uhuru Kenyatta declared the rescue mission over, stating that there were 700 people rescued and a total of 14 casualties. He also stated that all of the attackers had been killed in the operation, according to Quartz Africa. "Every person that was involved in the funding, planning and execution of this heinous act will be relentlessly pursued," added Kenyatta.

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