In 1969, Fela Anikulapo-Kuti arrived in the United States with his band, then evolving from Koola Lobitos into what would soon become Nigeria ’70. Their stay in Los Angeles marked one of the most transformative chapters of his life. The city’s dynamic blend of Black Power activism, jazz, funk, and soul created the perfect environment for change. Within this setting, Fela met Sandra Smith, who would later be known as Sandra Izsadore, a dancer and activist deeply involved in African-American cultural and political movements.
This encounter would forever alter the direction of his music and philosophy. Contemporary interviews and respected biographies confirm that Sandra played a significant role in exposing Fela to the literature and ideas of the Black liberation movement. According to Fela’s own words, she “gave [him] the education [he] wanted,” helping him recognize the depth of African identity and the power of political art.
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The Los Angeles Residency
Fela’s stay in Los Angeles was both challenging and enlightening. The band struggled to find their footing in a foreign land, performing wherever they could and absorbing the pulse of the city. They eventually secured a residency at Citadel d’Haiti, a club on Sunset Boulevard run by actor Bernie Hamilton. This residency allowed Fela and his musicians to develop a deeper sound, fusing African highlife and Nigerian rhythms with the funk and soul energies dominating America’s Black music scene.
The experience was more than musical. Sandra Izsadore introduced Fela to a world of political awareness. She discussed the writings of Malcolm X, the speeches of Stokely Carmichael, and the broader context of African-American struggle. Fela, who had previously seen his music largely as entertainment, began to understand its potential as a vehicle for resistance and identity.
The Real Story Behind the Myths
Some later retellings have mythologized this period, painting romantic or cinematic scenes of Afrobeat being “born” in a single moment at Sandra’s family home. However, documented timelines and recording archives tell a different story. The songs associated with that period, including My Lady’s Frustration, were recorded in Hollywood in February 1970, near the end of Fela’s American stay. These sessions, released later as The ’69 Los Angeles Sessions, capture the evolving sound that would soon be called Afrobeat.
The creative process that led to Afrobeat was not a sudden revelation but a gradual fusion. The months in Los Angeles gave Fela the time, space, and stimulus to experiment. In the clubs of Hollywood and the conversations in activist circles, he found the confidence to transform his style. Sandra’s mentorship helped him articulate a vision that was proudly African, unapologetically political, and spiritually connected to his roots.
The Political Awakening
Beyond music, Sandra Izsadore’s influence on Fela’s political awakening cannot be overstated. While she has often been described as a “Black Panther,” her own testimony clarifies that she attended and engaged with the Black Panther Party and the Student Nonviolent Coordinating Committee (SNCC) in Los Angeles. She was immersed in the spirit of Black consciousness, bringing that energy into her discussions with Fela. Through her, he came to understand how the global struggle for Black liberation linked the African continent and its diaspora.
When Fela returned to Nigeria in 1970, he did so with a new sense of mission. He renamed his band Africa ’70, began singing in Nigerian Pidgin to reach everyday people, and filled his lyrics with sharp social commentary. The foundations of songs like Zombie, Water No Get Enemy, and Sorrow, Tears and Blood can be traced back to the ideological spark ignited during his Los Angeles period.
The Broader Picture
It is essential to recognize that while Sandra Izsadore’s role was pivotal, Afrobeat was born from a wider convergence of forces. Drummer Tony Allen, whose rhythms defined the heartbeat of the genre, was equally instrumental. The Lagos music scene, postcolonial politics, and Pan-African thought all shaped what Afrobeat became. Sandra’s contribution represents a key emotional and intellectual bridge connecting Fela’s Nigerian identity with the global movement for Black empowerment.
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Lasting Impact
By the time Fela left the United States, he was no longer just a highlife musician. He was a man on a mission. His time in Los Angeles, and especially his partnership with Sandra Izsadore, gave him the ideological tools to make music that spoke truth to power. The Afrobeat movement that followed was not only about rhythm and groove; it was a revolution in sound and consciousness that resonated across continents.
Today, both Fela and Sandra stand as symbols of cultural exchange and transformation. Their connection represents a dialogue between Africa and its diaspora, between rhythm and resistance, and between art and activism.
Author’s Note
The story of Fela Anikulapo-Kuti and Sandra Izsadore is one of shared awakening. It reminds us that great cultural revolutions often begin in small, human encounters. In Los Angeles, 1969, a Nigerian bandleader searching for purpose met an African-American activist seeking reconnection with her roots. Their collaboration lit the fuse for Afrobeat’s emergence, blending music, politics, and identity into a single powerful language. Fela’s transformation from entertainer to revolutionary artist was not born of myth but of dialogue, courage, and consciousness, a story that continues to inspire generations.
References
Drew Tewksbury, “Fela Kuti’s Lover and Mentor Sandra Smith Talks About Afrobeat’s L.A. Origins”, LA Weekly, 2011.
Michael E. Veal, Fela: The Life & Times of an African Musical Icon, Indiana University Press, 2000.
Official Timeline, Felakuti.com (1969).
The ’69 Los Angeles Sessions (recording notes and release data).
The Guardian (Tony Allen obituary and career retrospective).
