There’s no telling the story of the Afrobeat pioneer, Fela Anikulapo-Kuti, without mentioning his friend, music collaborator, and former partner, Sandra Izsadore. Born Sandra Smith in Los Angeles, USA, this singer and composer is famed for influencing the revolutionary genius Fela Anikulapo-Kuti. Izsadore, in her earlier years, was an Afro-sporting dancer and a Black Panther member who participated in the civil rights movement of the 60s.
Upon meeting Fela, who only played Jazz and highlife at the time, Izsadore introduced him to political ideas that radically changed his music both in form and content. Thus, Afrobeat was born. Sandra is the only featured lead vocalist on Fela’s discography, with the song “Upside Down” -a 1977 hit. Today, Izsadore is known as The Mother of Afrobeat and is immortalised in Fela’s own biography, Fela: This Bitch of a Life, written by Carlos Moore in 1982. Izsadore continues to fight for World Peace, Justice and Equality for all. As the world marks the 29th year after Fela’s demise on August 2, Izsadore opens up on her memories of Fela, their shared activism and how music has left conscience behind.
Interview by Yinka Olatunbosun
You met Fela in 1969, before he created the Afrobeat genre, and you helped to infuse activism into his music. Why is music such a powerful tool for change?
He was God-sent. It was divine for us to meet and for that to happen. It was pre-ordained in the heavens. It was something I didn’t have control over.
You were hoping to learn about Africa from Fela. But Fela ended up learning from you. Was that expected?
(Laughs)I thought he was going to teach me the truth about Africa and Africans, and in some way, he did. He taught me a lot, and even today, I understand some things better. He used to laugh at churches and mosques in Nigeria. I looked at him strangely and wondered why. But today, I don’t have to wonder anymore.
Do you remember what it was like when you first met him?
Carlos introduced me to Fela. I wasn’t going to leave home, but I did. It is why I believe it is spiritual. I didn’t know I would help influence his journey in music and remove the scales from people’s eyes back in Nigeria, and to do it through music. I told him that, as musicians, we have a duty, and that we are sent here by the Most High. Our spiritual guide has sent the musicians here to help, lead, and teach the people. Not to tear them down. One of the things I learnt about Africa was the respect for elders and respect for your fellow man. Today, it is all about money. Or my house is bigger than your house. The egos have become so out of control. They are ruled by the spirit of Ease-God-Out (EGO). It angers me.
What really motivated you to stick by Fela, and why did you follow him back to Nigeria?
Because I’m black, I wanted to know about black people because I know that te-LIE-vision had told me lies about myself and people who look like me. I wanted a real African man to teach me the truth.
Would you say that Fela’s fashion was influenced by that of the legendary King of Rock & Roll, Elvis Presley?
H*ll to the No! If anything, Elvis Presley was copying what the black people were doing. The black people then were being exploited left and right. The white folks called it the devil’s music. They didn’t want their children near us. We were the soul of the land. That’s what I like about us. Even in Africa, nobody can beat Nigeria in celebration. They put the ‘p’ in party. The only problem I see is that colonialism taught them to hate themselves. They don’t love themselves enough. They are wicked to each other. Where did they learn that type of behaviour? Why are some South Africans killing other Africans?
Upon arriving in Nigeria with Fela, you encountered the African polygamous system. Why was it difficult for you to navigate at first, and how did you get along with other co-wives?
(Pause) It wasn’t difficult to navigate. It was different. It was a different culture. I was there to learn and observe. Fela didn’t have wives then. They were just young women living in the commune. At first, his wife lived in his house at 14A Agege Motor Road, along with his three children, Yeni, Femi and Sola. It was during that period that I knew Iya Mary, Kunle’s mom. Those children I knew to be Fela’s children.
Were you there when the ladies became wives?
No. I had returned to America because it was in 1981 or 1982 when Fela thought I should be a wife and didn’t think I should be one. I wanted to be no part of that harem. It took me too long to get over it because I was in love with Fela. I could not accept that type of lifestyle. Polygamy is not for me. I don’t believe in sister-wives. If that’s what you like, I am happy for you. Live your best life. Just not for me. But we remained friends. In fact, we went beyond friendship. We were above all of that. I accepted him for who he was. He accepted the fact that I had moved on. There are many women in the world who do not mind being a sister-wife or being part of a circus. Believe it or not, there are plenty of American women who would want that. Those women usually only want your money and what you can do for them. A woman that wants to be a wife wouldn’t want that even if she is born into polygamy.
Do you remember the process that led to recording the iconic song with Fela, Upside Down?
Of course. When I was at the shrine and on stage singing, I was like I was talking about this people’s country. But you know what the sad part is? It is still upside down. I have always been a pan-Africanist. Africans are too busy trying to look like somebody else.
You wrote in your book, Fela and Me, that you began using African fabrics to create Western styles in an unprecedented way. What inspired that taste in fashion?
It was inspired by being black and conscious of who we are as a people, knowing that all races come from black, and we are the teachers of the world, and we continue to teach. Why should I not elevate the arts and crafts of Africa and the indigenous people of where I come from?
What did you find most exciting about Nigeria?
Everything: the colours, the smell, the food, the lifestyle, the culture and the fact that everyone was black like me. And I was black like them. But a lot of them didn’t see me that way. I took my American culture with me, but the women in Fela’s house were different. I found them to be subservient. Not equal but subservient to men. That was different. That’s why a lot of African men in America don’t like it when I meet their wives. (chuckles). It is funny, but it’s true. Everybody doesn’t know everything. When you know something, you need to share it. A lot of women take in things they shouldn’t take in at all without recognising their own power. If women took back their power, we would have a better world.
Every year, we celebrate Felabration around October in Nigeria. Do you have parallel celebrations in the US for Fela?
We have smaller events in his honour, but nothing major like the one in Nigeria, because most people in the entertainment scene think only about making money. Everyone wants to get paid. Whatever venue you choose, they want to be paid. You have to advertise too. Everyone is trying to make a hustle. In Nigeria, it is different; it is about one week of giving. The sponsors in America don’t want the public to know the truth about Fela’s activism or how his mother and brothers fought. If you go behind the scenes, people are suffering more now than they were then. Back then, everyone lived together, and everyone was happy. I witnessed Nigeria, and I saw the power it could be. I didn’t know that they had boots on the ground- of people coming in trying to exploit and get rich quickly. 10 people can get rich and think it is okay to let the 200 here suffer. Can you imagine? That’s what is happening. I have some Nigerian friends here in America. Some had been successful in business, having their companies built in America. And because they live well, they don’t see anyone else. Forgive me if I am wrong. I come from a different school: make sure everyone has a plate. I didn’t see that in Nigeria. I saw a few with plates and more without.
Global icons like Beyonce, Burna Boy and Wizkid have claimed to have drawn heavily from Fela’s legacy. Sadly, it is not Afrobeat that is gaining global attention right now. What does that say about conscious music?
Conscious music has been suppressed because once you suppress conscious music, you can control the people. The record labels don’t want conscious music. They had a meeting about it in America in the 80s when rap music just came out. If you research rap music, you will find out that rap music was teaching consciousness and black people were empowering blacks. White executives became afraid and decided to stop it. They told TI that they don’t want him singing any kind of positive lyrics. Some people have sold their souls for fame and fortune. Fela said, “Let music be the weapon. “America heard him. They took the music, and they weaponised it, and that’s why you don’t get conscious music today. They sing all sorts of things that don’t make sense. Amapiano is ok but the lyrical content sucks. They don’t say anything. Music is to elevate and uplift, not pull down. And they are pulling down the frequency of it.
Even though you have married and you have moved on to new chapters in your life, will Fela continue to hold a special place in your heart?
Always. He holds a special place in our hearts in this house. My entire family knows of Fela, knows about my relationship with Fela, and respects that. It will be unwise for me to hide or put a disclaimer on any part of my life. That will be a lie and incorrect. The day Fela and I met was a gift from the Most High. We wanted to make some positive changes in the world. We thought we could help the government then. But here we are. But you have to keep living, stay positive, and raise your own vibration, because when you do, we can change the frequency on this planet. We need to have real leadership in Africa.
