Look up colonial or colonials in Wiktionary, the free dictionary.

Colonial or The Colonial may refer to:

• Colonial, of, relating to, or characteristic of a colony
• Colonial history of the United States, the period of American history from the 17th century to 1776, under the rule of Great Britain, France and Spain
• Spanish colonization of the Americas, the period of history of Spanish rule over most of the Americas, from the 15th century through the late 19th century
• Colonialism, the extension of political control to new areas
• Colonial troops, any of various military units recruited from, or used as garrison troops in, colonial territories

Architecture[link]

• American colonial architecture
• Colonial Revival architecture
• French Colonial
• Spanish Colonial architecture
• British Colonial architecture

Cars[link]

• Colonial (1920 automobile), the first American automobile with four-wheel brakes
• Colonial (Shaw automobile), a rebranded Shaw sold from 1921 until 1922
• Colonial (1921 automobile), a car from Boston which was sold from 1921 until 1922

Places[link]

• The Colonial (Indianapolis, Indiana), listed on the National Register of Historic Places (NRHP) in Indiana
• The Colonial (Mansfield, Ohio), listed on the NRHP in Ohio
• Colonial Country Club (Fort Worth), a golf course in Texas
  • Crowne Plaza Invitational at Colonial, a PGA golf tournament at the club sometimes referred to as "The Colonial"
• Colonial Country Club (Memphis), a golf course in Tennessee
• Inmobiliaria Colonial, a Spanish corporation, which includes companies in the domains of real estate

Trains[link]

• Colonial (PRR train), a Pennsylvania Railroad ran between Washington, DC and New York City, and was last operated in 1973 by Amtrak.
• Colonial (Amtrak 1976), an Amtrak train that began running between Newport News, Virginia and New York in 1976. After various changes, it was renamed the Old Dominion in 1992, and is now part of Amtrak's Northeast Regional.
• Colonial (Amtrak 1997), an Amtrak train that began running from Richmond, Virginia to New York train in 1977 and eventually became part of the Northeast Regional.

See also[link]

• Colonial Hotel (disambiguation)
• Colonial Theatre (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Damien Dempsey (born in Donaghmede, Dublin in 1975; Irish: Damien Ó Díomasaigh) is an Irish singer and songwriter who mixes traditional Irish folk with contemporary lyrics to deliver social comment on the positive and negative aspects arising from Ireland's Celtic Tiger society. He sings in English, and to a lesser extent Irish.

Early life[link]

Born and raised in Donaghmede, a Northside suburb of Dublin, his earliest musical influences came from the post-pub musical sessions that were held in his parents house when he was a toddler. This developed into a love of artists such as Christy Moore, Luke Kelly, Shane MacGowan, Bob Marley and Elvis Presley.

Growing up on the northside of Dublin, the six foot two inch Dempsey trained and competed as an amateur boxer before committing himself to studying music.

Upon completing secondary school at Mount Temple Comprehensive School, he attended Ballyfermot College of Further Education - the "Rock School" - for 2 years before graduating in 1995. There he studied musical performance and management and his first EP, "The Contender" was released in 1995 on the school's record label.

Musical career[link]

His first commercial single "Dublin Town" was released in 1997, and reached number 18 in the Irish music charts. The Irish music magazine "Hot Press" praised the single, remarking that it was "..an underground anthem for disaffected youth and closet balladeer alike". His first full length album, titled "They Don't Teach This Shit In School" was released in 2000 and contained a re-recorded version of this song.

Dempsey's talent was beginning to get noticed, not least by Irish singer Sinéad O'Connor who invited him out on tour with her and championed him as one to watch - “I don't think there's ever been anyone like him. I think he represents the sort of voice in Ireland that is not allowed to be heard", she said. Dempsey would later joke onstage that when he got the call from O'Connor to join the tour, he assumed it would be on the door as a bouncer.

His next release, in 2002, the "Negative Vibes EP" featured Sinéad O'Connor on the title track and led to an invitation to support Sinéad on her 2002/2003 Irish, UK, and European tour.

Damien's second full-length album, "Seize the Day", was released in May 2003 in Ireland on Clear Records via Sony and entered the charts in its first week of release at No. 5. It has since achieved double-platinum sales.

In 2004 Dempsey toured extensively headlining his own shows as well as supporting Bob Dylan during the Irish leg of his European tour and making his debut appearances at The Fleadh and Womad.

He has earned the support of his peers, particularly Morrissey, who invited Damien to support him on various UK and Irish dates as well as his autumn 2004 US tour. Morrissey went on to sign Damien to his label (Attack), and "Seize the Day" had its U.S. release in October 2004.

	"Patience" noicon single from Shots (2005)
Problems listening to this file? See media help.

His third album, "Shots", simultaneously released in Ireland and the UK in March 2005 entered the Irish album charts at #19.

At Oxegen 2006, on the main stage on Saturday afternoon, the Dempsey said that Patrick Pearse would be "turning in his grave" at the state of modern Ireland.^{[citation needed]} This sparked off controversy.^{[citation needed]}

He supported British folk-rock band The Levellers on their UK tour in the spring of 2006 as well as playing at The Levellers' music festival Beautiful Days in August 2006.

Damien's first live album,"Live at The Olympia" was released June 2006 in Ireland and the UK. The album was recorded at Dublin's Olympia Theatre on 15 December 2005.

"Shots" was released in the U.S. on the United For Opportunity label in June 2006 and Damien undertook a coast to coast tour.

On the Fleadh 2007 tour Damien, along with Sharon Shannon's Big Band, toured Ireland and the UK with Willie Nelson.

His fourth studio album, "To Hell or Barbados" released in June 2007, entered the Irish album chart at No. 2. An extended version of the album, which included a bonus CD featuring previously unreleased and rare tracks, was released in Ireland via Sony BMG in November 2007.

Dempsey's fifth studio album, a covers album entitled The Rocky Road, was released on 6 June 2008 in Ireland via Sony BMG, with a UK release via IRL on 9 June 2008 and on August 26 via United For Opportity. The lead single "A Rainy Night In Soho", a cover of the Pogues' original, was released on 30 May 2008.

Discography[link]

• They Don't Teach This Shit in School (2000)
• Seize the Day (2003)
• Shots (2005)
• To Hell or Barbados (2007)
• The Rocky Road (2008)

Between The Canals[link]

The Irish crime film Between the Canals was Dempsey's debut performance as an actor. He played the fictional Dublin crime boss Paul Chambers. The film has been well received by critics. The Irish Times stated that the film "has all the raw, angry energy of the great man’s roaring songs."^[1] The film is due to be released in cinemas in March 2011.^[2]

Documentary[link]

A documentary, It's All Good: The Damien Dempsey Story, by independent filmmaker Dara McCluskey, that followed Damien's career progression up to the release of "Seize the Day", was broadcast on Ireland's national television station RTÉ and shown at film festivals in Ireland and New York. It shows how far Damien Dempsey has come in becoming a Platinum selling artist ("It's All Good: The Damien Dempsey Story" 52 Minute Documentary online).

Awards and nominations[link]

Nominated in 4 categories in the 2004 Irish Meteor Music Awards, Damien walked away with two, the only 2004 double winner. In 2006 and 2007, Damien added to his collection of Meteor Awards when he won Best Irish Male. Nominated in 2 categories in the Irish Meteor Awards 2008 and won “Best Folk/Traditional”.

Meteor Music Awards[link]

References[link]

External links[link]

• Official website
• Damien Dempsey on Myspace
• Damien Dempsey at Allmusic
• United for Opportunity (Record label's artist information page)
• Fleming Artists (U.S. Booking Agent's artist information page]
• cluas.com (Early career interview with Damien Dempsey)
• It's All Good: The Damien Dempsey Story (Documentary by Dara McCluskey)

Fela Kuti
Fela Kuti in 1970
Background information
Birth name	Olufela Olusegun Oludotun Ransome-Kuti
Also known as	Fela Anikulapo Kuti Fela Ransome-Kuti
Born	(1938-10-15)15 October 1938 Abeokuta, Nigeria
Died	2 August 1997(1997-08-02) (aged 58)
Genres	Afrobeat, Highlife
Occupations	Singer-songwriter, instrumentalist, activist
Instruments	Saxophone, vocals, keyboards, trumpet, guitar, drums
Years active	1958–1997
Labels	Barclay/PolyGram, MCA/Universal, Celluloid, EMI Nigeria, JVC, Wrasse, Shanachie, Knitting Factory
Associated acts	Africa '70, Egypt '80, Koola Lobitos, Nigeria '70, Hugh Masekela, Ginger Baker, Tony Allen, Femi Kuti, Seun Kuti, Roy Ayers, Lester Bowie
Website	www.felaproject.net

Fela Anikulapo Kuti (15 October 1938 — 2 August 1997), or simply Fela ([feˈlæ]), was a Nigerian multi-instrumentalist musician and composer, pioneer of Afrobeat music, human rights activist, and political maverick.^[1]

Biography[link]

Early life and career[link]

Fela was born Olufela Olusegun Oludotun Ransome-Kuti^[2] in Abeokuta, Ogun State, Nigeria^[3] into 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.^[4] His brothers, Beko Ransome-Kuti and Olikoye Ransome-Kuti, both medical doctors, are well known in Nigeria. Fela was a first cousin to the Nigerian writer and Nobel laureate Wole Soyinka, the first African to win a Nobel Prize for Literature.

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 fusion of jazz and highlife.^[5] In 1960, 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. He played for some time with Victor Olaiya and his All Stars.^[6]

In 1967, he went to Ghana to think up a new musical direction.^[4] That was when Kuti first called his music Afrobeat.^[4] In 1969, Fela took the band to the United States. While there, Fela discovered the Black Power movement through Sandra Smith (now Izsadore)—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 U.S. 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.

1970s[link]

After Fela and his band returned to Nigeria, the band was renamed The Africa '70, as lyrical themes changed from love to social issues.^[5] 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"),^[7] stating that his original middle name of Ransome was a slave name. The recordings continued, and the music became more politically motivated.^{[citation needed]}

Fela's music became very popular among the Nigerian public and Africans in general.^[8] 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. During 1972, Ginger Baker recorded Stratavarious with Fela appearing alongside Bobby Gass.^[9] Around this time, Kuti was becoming more involved in Yoruba religion.^[10]

In 1977, Fela and the Afrika '70 released the 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 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 had it not been 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 Dodan Barracks in Lagos, General Olusegun Obasanjo's residence, and to 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.^[11]

Fela and his band then took residence in Crossroads Hotel as the Shrine had been destroyed along with his commune. In 1978, Fela married twenty-seven 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.^[12] 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 entire 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)".

1980s and beyond[link]

In 1984, Muhammadu Buhari's government, of which Kuti was a vocal opponent, jailed him on a charge of currency smuggling which Amnesty International and others denounced as politically motivated.^[13] 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 twelve remaining wives, saying that "marriage brings jealousy and selfishness".^[12]

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 A Conspiracy of Hope concert, sharing the bill with Bono, Carlos Santana, and The Neville Brothers. In 1989, Fela and 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 Pieter Willem Botha.

His album output slowed in the 1990s, and eventually he stopped releasing albums altogether. In 1993, he and four members of the Afrika '70 organization were arrested for murder. 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.

Death[link]

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 which was brought on by AIDS. 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.

Music[link]

The musical style performed by Fela Kuti is called Afrobeat, which is a complex fusion of Jazz, Funk, Ghanaian/Nigerian High-life, psychedelic rock, and traditional West African chants and rhythms. Afrobeat also borrows heavily from the native "tinker pan" African-style percussion that Kuti acquired while studying in Ghana with Hugh Masekela, under the uncanny Hedzoleh Soundz.^[14] The importance of the input of Tony Allen (Fela's drummer of twenty years) in the creation of Afrobeat cannot be overstated. Fela once famously stated that "without Tony Allen, there would be no Afrobeat".

Afrobeat is characterized by a fairly large band with many instruments, vocals, and a musical structure featuring jazzy, funky horn sections. The "endless groove" is used, in which a base rhythm of drums, shekere, muted West African-style guitar, and melodic bass guitar riffs are repeated throughout the song. Commonly, interlocking melodic riffs and rhythms are introduced one by one, building the groove bit-by-bit and layer-by-layer to an astonishing melodic and polyrhythmic complexity. The horn section then becomes prominent, introducing other riffs and main melodic themes.

Fela's band was notable for featuring two baritone saxophones, whereas most groups were using only one of this instrument. This is a common technique in African and African-influenced musical styles, and can be seen in funk and hip hop. Fela's bands at times even performed with two bassists at the same time both playing interlocking melodies and rhythms. There were always two or more guitarists. The electric West African style guitar in Afrobeat bands are paramount, but are used to give basic structure, playing a repeating chordal/melodic statement, riff, or groove.

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 also very long, at least 10–15 minutes in length, and many reaching the 20 or even 30 minutes, 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 Africa. His LP records frequently had one 30-minute track per side. Typically there is an instrumental "introduction" jam part of the song, perhaps 10-15 minutes long, before Fela starts singing the "main" part.

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, electric 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 attempted making a movie but lost all the materials to the fire that was set to his house by the military government in power. Kuti thought that art, and thus his own music, should have political meaning.^[10]

Political views[link]

As a supporter of traditional religions and lifestyles, Kuti thought that the most important thing for Africans to fight is European cultural imperialism.^[10] The American Black Power movement also influenced Fela's political views; he was a supporter of Pan-Africanism and socialism, and called for a united, democratic African republic. He was a candid supporter of human rights, and many of his songs are direct attacks against dictatorships, specifically the militaristic governments of Nigeria in the 1970s and 1980s. He was also a social commentator, and he criticized his fellow Africans (especially the upper class) for betraying traditional African culture. The African culture he believed in also included having many wives (polygyny) and the Kalakuta Republic was formed in part as a polygamist colony. He defended his stance on polygyny with the words: "A man goes for many women in the first place. Like in Europe, when a man is married, when the wife is sleeping, he goes out and fucks around. He should bring the women in the house, man, to live with him, and stop running around the streets!"^[16] His views towards women are characterized by some as misogynist, with songs like "Mattress" typically cited as evidence^[17] In a more complex example, he mocks the aspiration of African women to European standards of ladyhood while extolling the values of the market woman in his song "Lady".

Bypassing editorial censorship in Nigeria's predominantly state controlled media, Kuti began in the 1970s buying advertising space in daily and weekly newspapers such as The Daily Times and The Punch in order to run outspoken political columns.^[18] Published throughout the 1970s and early 1980s under the title Chief Priest Say, these columns were essentially extensions of Kuti's famous Yabi Sessions—consciousness-raising word-sound rituals, with himself as chief priest, conducted at his Lagos nightclub. Organized around a militantly Afrocentric rendering of history and the essence of black beauty, Chief Priest Say focused on the role of cultural hegemony in the continuing subjugation of Africans. Kuti addressed a number of topics, from explosive denunciations of the Nigerian Government's criminal behavior; Islam and Christianity's exploitative nature, and evil multinational corporations; to deconstructions of Western medicine, Black Muslims, sex, pollution, and poverty. Chief Priest Say was cancelled, first by Daily Times then by Punch, ostensibly due to non-payment, but many commentators^[who?] have speculated that the paper's respective editors were placed under increasingly violent pressure to stop publication.

The Fela revival[link]

In recent years there has been a revitalization of Fela's influence on music and popular culture, culminating in another re-release of his catalog controlled by Universal Music, off- and on-Broadway biopic shows, and new bands, such as Antibalas, who carry the Afrobeat banner to a new generation of listeners.

In 1999, Universal Music France, under the aegis of Francis Kertekian, remastered the 45 albums that it controlled and released them on twenty-six compact discs. These titles were licensed to other territories of the world with the exception of Nigeria and Japan, where Fela's music was controlled by other companies. In 2005, Universal Music USA licensed all of its world-music titles to the UK-based label Wrasse Records, which repackaged the same twenty-six CDs for distribution in the USA (replacing the MCA-issued titles there) and the UK. In 2009, Universal created a new deal for the USA with Knitting Factory Records and for Europe with PIAS, which included the release of the Fela! Broadway cast album.

Thomas McCarthy's 2008 film The Visitor depicted a disconnected professor (Oscar nominee Richard Jenkins) who wanted to play the djembe. He learns from a young Syrian (Haaz Sleiman) who tells the professor he will never truly understand African music unless he listens to Fela. The film features clips of Fela's "Open and Close" and "Je'nwi Temi (Don't Gag Me)".

In 2008, an off-Broadway production of Fela Kuti's life titled Fela! began with a collaborative workshop between the Afrobeat band Antibalas and Tony award-winner Bill T. Jones. The show was a massive success, selling out shows during its run, and garnering much critical acclaim. On November 22, 2009, Fela! began a run on Broadway at the Eugene O'Neill Theater. Jim Lewis helped co-write the play (along with Bill T. Jones), and obtained producer backing from Jay-Z and Will Smith, among others. On May 4, 2010, Fela! was nominated for 11 Tony Awards, including Best Musical, Best Book of a Musical, Best Direction of a Musical for Bill T. Jones, Best Leading Actor in a Musical for Sahr Ngaujah, and Best Featured Actress in a Musical for Lillias White.^[19]

On August 18, 2009, award-winning DJ J.Period released a free mixtape to the general public via his website that was a collaboration with Somali-born hip-hop artist K'naan paying tribute to Fela, Bob Marley and Bob Dylan, entitled The Messengers.

In October 2009, Knitting Factory Records began the process of re-releasing the 45 titles that Universal Music controls, starting with yet another re-release of the compilation The Best of the Black President in the USA. The rest is expected to be released in 2010.^{[dated info]}

In addition, a movie by Focus Features, directed by Steve McQueen and written by Biyi Bandele about the life of Fela Kuti went into production in 2010. It was announced in 2010 that Chiwetel Ejiofor would play the lead role.^[20]

Discography[link]

Filmography[link]

• Fela in Concert, 1981, (VIEW)
• Music is the Weapon, 1982, Stéphane Tchal-Gadjieff and Jean Jacques Flori (Universal Music)
• Fela Live! Fela Anikulapo-Kuti and the Egypt ’80 Band, 1984, Recorded Live At Glastonbury, England (Yazoo)
• Femi Kuti—Live at the Shrine, 2005, recorded Live At Lagos, Nigeria (Palm Pictures)

Notes[link]

References[link]

External links[link]

• Official website
• 'He was in a godlike state' - Guardian feature by Alex Hannaford, 25 July 2007.
• The Shrine Unofficial website for Fela Kuti and Afrobeat Music with news, bio's, tour dates, gig reviews, interviews, and lyrics.
• Fela Kuti discography at Discogs
• Fela Kuti article from the New Official Ginger Baker Archive and Drummers forum launched by the Baker family September 2010
• Fela Kuti biography at World Music Central, includes biography, discography and bibliography

v t e Pan-Africanism Proponents Politicians Nnamdi Azikiwe Amílcar Cabral Muammar Gaddafi Marcus Garvey David Comissiong Kenneth Kaunda Jomo Kenyatta Patrice Lumumba Thabo Mbeki Abdias do Nascimento Gamal Abdel Nasser Kwame Nkrumah Julius Nyerere John Nyathi Pokela Thomas Sankara Haile Selassie Robert Mangaliso Sobukwe Ahmed Sékou Touré I. T. A. Wallace-Johnson Others Marimba Ani Molefi Kete Asante Steve Biko Edward Wilmot Blyden John Henrik Clarke Cheikh Anta Diop W. E. B. Du Bois Frantz Fanon John G. Jackson Leonard Jeffries Yosef Ben-Jochannan Maulana Karenga Fela Kuti Bob Marley Malcolm X Zephania Mothopeng George Padmore Motsoko Pheko Runoko Rashidi Paul Robeson Walter Rodney Burning Spear Henry Sylvester-Williams Stokely Carmichael Omali Yeshitela Concepts United States of Africa Afrocentrism Kwanzaa Pan-African colours Pan-African flag Négritude African nationalism African socialism African Century Africanization Kawaida Ujamaa Harambee Ubuntu Zikism Black nationalism Organizations African Union Organization of African Unity Uhuru Movement UNIA-ACL African Unification Front International African Service Bureau

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (May 2010)

Colonial Cousins is a band formed by Indian duo composed of singer Hariharan and singer-composer Leslie Lewis. They also have a largely successful career as solo artists as well. Their unique brand of music fused Indian and Western musical genres instantly won the hearts of young and old alike.^[1] The album hit platinum in sales in India alone and consistently busted the Indian music charts in 1996. Award upon award was piled on the duo, notably the MTV Asia Viewers' Choice Award, 1996, and the US Billboard's Viewers' Award, 1996. On 19 November 1998, the Colonial Cousins released their second album, The Way We Do It. They also released their third album Aatma on January 1, 2001. They have scored two Tamil films, Modhi Vilayadu (2009) and Chikku Bukku (2010).

History[link]

Formation[link]

It was during Lewis's jingles career that the idea of Colonial Cousins was conceived. Lezz had called in Hariharan to sing a jingle for him one evening in 1992. The lyrics for the jingle were late coming in. The restless Lezz began crooning something while strumming on his guitar, Hari felt inspired to jam with an alaap, and the result: the seamless fusion of Eastern and Western sounds that has become the quintessential characteristic of the Colonial Cousins.

When Hariharan and Leslie Lewis formed Colonial Cousins, little did they realise that their foray into popular vocal fusion would make them the hottest act in town. Being a ghazal singer in the Indian music industry for over two decades, Hariharan is well versed in Carnatic and Hindustani music. Besides releasing several ghazal albums, Hariharan has also lent his voice to many Hindi and Tamil films, and ended up winning several awards including the National Award as Best Singer for his song "Mere Dushman Mere Bhai" from the film Border.

Debut album[link]

In October 1996, under Magnasound Label, the duo released their debut album self-titled Colonial Cousins. The album broke all records including hitting platinum sales in India. The duo also won the MTV Asia Viewer's Choice Award and then later on bagged the US Billboard Viewer's Choice Award too.^[2] The song "Krishna" won the Star Videocon Award for Best Music Video.^[3] The exceptional Indian and Western music fusion generated a new genre of music and won hearts of millions of music lovers worldwide.

Their debut album opened up the doors for Indian sounds to be used in western sounding songs. The style is essentially fusion, with a lot of songs opening with recognisable Hindustani or Carnatic ragas and then segueing into a more pop style. A further cachet to the album is that the musicians who worked on it range from Pandit Vishwa Mohan Bhatt, winner of a Grammy Award for his invention of the 14-stringed guitar, to sessions musicians who have worked with the likes of Madonna, Boy George, Annie Lennox and other big names in the Western world. It was the first Indian act to be featured on MTV Unplugged.^[2]

The album had two major hit singles "Krishna" and "Sa Ni Dha Pa" ("Never Know the Reason") for both of which their music videos were repeatedly played on music channels.

[edit] The Way We Do It

The first Colonial Cousins album was a tour de force. On November 19, 1998, their second album, a sophomore effort, The Way We Do It, was a continuation of, and a departure from, that first effort. Lyrically low-key, musically rich and groove-ridden, this album saw Hari and Lezz establish themselves as India's premier fusion artists.

The album was a continuation in musical terms to the extent that Lezz and Hari had done what they do best individually, and fused it into a format that enriches and complements each other. That said, the album was also a departure sound-wise from their eponymous first album. While that has a softer sound to it, their second album was edgier and groovier.

The album has some successful singles like the title track "Way We Do It With You". Srinivas playing on it, "Dekhoon Main Jahan" penned by talented lyricist Javed Akhtar, "No Longer Mine" and "Lady".

[edit] Aatma

After two-and-a-half years in hibernation, Indipop fusion band Colonial Cousins, sprung into action with their third album Aatma. Released in April 2001, under the Sony label, the nine-track album was a delectable fusion of Indian vocals and contemporary instrumentation. Besides being busy in playback singing Hariharan had cut a ghazal album Kaash the previous year, while Lewis has been busy composing jingles and producing music.

Hariharan, an exponent of Carnatic music trained in Hindustani gayaki under the tutelage of Padamshree Ustad Ghulam Mustafa Khan, displays vocal skills in his rich baritone in songs like “Guiding Star”, “Mata Pita” and "Dheem Dheem Dhirena".

Lewis, on the other hand, chips in with the pop element. While the English lyrics Lewis sings have depth and meaning, his vocals are delightfully sweet at places. One can easily detect a conscious attempt on his part to infuse his singing with emotion. Still, the saving grace of “Aatma” is the emphatic presence of Hariharan.

There is also a song "I Love You Girl" which Hariharan has dedicated to his daughter Divya. Its title "I love you girl", for Divya when "I’m Gone" says everything.

In Aatma, they have got back to square one and incorporated the same sounds and style that music buffs have come to identify with them.

[edit] Modhi Vilayadu

In 2009, the Colonial Cousins made a debut as music composers for Tamil film Modhi Vilayadu directed by Saran. The director of the film required a new trend of music and so roped in the Indipop duo thus opening doors for them to the Tamil Film Industry.^[4]

[edit] Chikku Bukku

Colonial Cousins scored their second soundtrack for the film Chikku Bukku (2010). Its audio was released on 13 August.^[5]

Discography[link]

• Colonial Cousins (1996)
• The Way We Do It (1998)
• Aatma (2001)
• Modhi Vilayadu (2009)
• Chikku Bukku (2010)

Awards and achievements[link]

• 1997: MTV Asia Viewer's Choice Award for Colonial Cousins
• US Billboard Viewer's Choice Award

References[link]

External links[link]

• Official Blog site
• Colonial Cousins catch the aatma of Indipop fusion [1]
• The Post “Colonial” Hariharan [2]