RILM staff periodically contribute writings to EBSCOpost, a lively blog run by our partners that publishes pieces pertinent to librarianship, higher education, and beyond. Over time, some of these posts are removed, and even those that remain generally recede from view, following the ephemeral nature of much digital content. With 60 years of preserving the world’s writings on music and music-related topics behind us, we are now adding a small rescue project: bringing these blog posts back into circulation. However modest, they help document our history as an organization, and we hope they will continue to resonate with our international readership as well as with any music enthusiast who happens upon them.
For this installment in the series, we return to a post that caused quite a stir amongst the Bibliolore faithful when published here in 2017. In it, former RILM editor Jim Cowdery highlights a few tongue-in-cheek moments when musicologists, lexicographers, and even our staff injected some levity into their work. See if you can find them all, and check out Bibliolore’s recent post, Unique records in RILM Abstracts, which serves as a great companion piece.
The pointy end: Spoof articles
Many reference works for music—and presumably other topics—contain articles about fictitious characters. Sometimes writers for these works slyly slip them by their editors (an article on “Verdi, Lasagne” was almost typeset for printing in The new Grove dictionary); others are incorporated with the collusion of all parties.
For an example, look up Otto Jägermeier in Komponisten der Gegenwart (available through RILM Music Encyclopedias) or in Die Musik in Geschichte und Gegenwart (available through MGG Online). You will find that Jägermeier composed, among other intriguing works, an opera called Der Idiot with a libretto by Fëdor Dostoevskij, and a work for solo clarinet called Psychosen. The name Jägermeier is a play on Jägermeister, a popular German cordial.
RILM is not above adding a spoof article or two to RILM Abstracts of Music Literature. Of course, we won’t tell you which ones they are, but we’ll give you a hint: One includes a reference to the very real and wonderful Malcolm Bilson, who favors us with a Mozart concerto below.
A well-worn 1951 LP in Schultz’s collection by the pianist 
Afrobeat, hip hop, and Nigerian activism
Nigerian music genres, particularly Afrobeat, have historically sparked social consciousness, with Fela Anikulapo Kuti as a prominent figure. His energetic performances aimed to confront oppressive regimes in Nigeria and beyond, addressing neocolonial influences from Western powers. Despite facing assaults and imprisonment, Fela remained dedicated to his enduring belief that an artist’s role extends beyond entertainment; it includes provoking public thought and raising awareness about social issues. His commitment to these ideals has left a lasting impact on the cultural and political landscape of Nigeria.
Fela remained a steadfast opponent of Nigerian military rulers until his death in 1997. While some musicians have attempted to carry the torch of his activist legacy, few have been able to mobilize a significant following or resonate with the public as he did. Other genres, like Nigerian hip hop, have often faced criticism for promoting misogyny, materialism, and hedonism. In contrast, Fela’s counterculture has evolved into a broader global movement, gaining traction alongside the rising international popularity of Nigerian hip hop, now widely recognized as “Afrobeats.”
One musician who has taken up this challenge is Falz (Folarin Falana), a dynamic Nigerian artist who combines humor with bold social commentary in his music. Like Fela, he uses his art to spotlight societal issues and foster awareness aimed at inspiring positive change. The son of renowned human rights lawyer Femi Falana and his wife, Funmi Falana, a lawyer and advocate in her own right, Falz initially trained as a lawyer before pursuing music, reminiscent of Fela’s own journey. Gaining fame through humorous social media skits that critique everyday Nigerian life, Falz’s music has evolved to address pressing social problems, urging ordinary Nigerians to recognize their role in perpetuating state repression and to advocate for change.
Falz initially garnered attention as a humorist on social media, creating skits that satirize everyday Nigerian life. As his music career progressed, his performances became more impactful, drawing inspiration from Fela both musically and politically. In his songs, Falz tackles pressing social issues in Nigeria and encourages listeners to actively resist and advocate for change. Notably, Falz emphasizes the collective responsibility of ordinary Nigerians, highlighting how the broader populace contributes to the state repression faced by citizens.
This according to “Re-imagining Afrobeat(s): Juxtaposing Fela and Falz’s social commentary and lyrical activism”, by Paul Ayodele Onanuga (African identities 23/3 [2025] 584–603; RILM Abstracts of Music Literature, 2025-1229).
Below are two Falz music videos.
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Filed under Africa, Performers, Politics, Popular music
Tagged as Africa, Afrobeat, Hip hop, Hip hop music, Humor, Nigeria, Politics, Rap music, social commentary