My Inspiration

I was born Harvey Lornezo Estrada. I was inspired by the most high to hear the calling on my life to Perform and Compose Music at the early age of two years old. This journey has taken me around the world many times living my purpose as a Musical Artist. In addition, I was led to share my passion for Music with other aspiring artists from around the globe. As a Composer and Producer I started my Music Business career in Los Angeles/Compton, California. Where I've recorded, produced, and engineered Music for many different genres and Artists, Film and Television and Video Games. I have been the CEO of my own recording company since 1990, where I have released recording on many up and coming and professional artists. In 2000, I created the first Music Technology and Commercial Business Program at Compton Community College, where I am currently the Director and Tenured Professor of Commercial Music Technology. Many students have benefited from this program over the years. Alumni's from this program are now working in the Music Industry, as well as other industries such as Leaders in the community, Engineers, Doctor's, Attorney's, Educator's and More!

It has been a Blessing for me to have been able to be a Blessing to others!

Anikulapo Kuti

Anikulapo Kuti (aka) Harvey Lorenzo Estrada

I was honored to be given the name Anikulapo Kuti, by Artist, Musician, and Activist ,

Fela Anikulapo Kuti in 1977. During the time of FESTAC, I lived with Fela at his home and Performed nightly in the Original Shrine Auditorium in Kalakuta Republic in Lagos, Nigeria, which housed Fela Anikulapo Kuti's music studio and commune.

Here is a little history on FESTAC:

FESTAC '77 was the Second World Black and African Festival of Arts and Culture, a major international event held in Lagos, Nigeria, from January 15 to February 12, 1977. It was the largest pan-African gathering ever organized, bringing together nearly 16,000 participants from 56 nations across Africa and the African diaspora.

Purpose and themes

Funded by Nigeria's oil wealth, the month-long festival was a powerful celebration of African culture and a statement of Black unity. It aimed to accomplish several goals:

Cultural revival: The festival was designed to revive, promote, and propagate Black and African culture and its values.
Showcase global influence: It highlighted the contributions of Black and African people to world arts and thought.
Black unity: It created a forum for artists, writers, and performers to connect with their heritage and with one another, fostering Pan-Africanist and Négritude movements.
Cultural empowerment: Participants sought to protect Black culture from being undermined by other cultures and from being seen solely as "primitive museum artifacts".

Key events and figures

The festival was an "Olympics, plus a Biennial, plus Woodstock," featuring a wide array of events and drawing prominent figures.

Performances: Global artists and performers included Stevie Wonder, Miriam Makeba, Gilberto Gil, Mighty Sparrow, and Les Ballets Africains.
Exhibitions: Events at the newly constructed National Theatre, the National Museum, and other venues showcased African arts, literature, dance, and drama. A significant exhibit highlighted 2,000 years of Nigerian art.
Colloquium: An intellectual conference brought together scholars and writers like Wole Soyinka to discuss topics such as cultural imperialism and African independence.
Infrastructure: To host the event, Nigeria built the National Theatre and FESTAC Village, a housing estate with over 5,000 new units.

Controversies and legacy

While it was a source of great pride, FESTAC '77 also faced criticism.

Extravagance: Some observers questioned the immense cost of the event, estimated at $400 million, especially given Nigeria's societal challenges.
Nigerian government: Nigerian musician Fela Kuti organized a "counter-Festac" to protest the military government. After the festival, the army raided his home.
Identity issues: The classification of "Black and African" prompted debate. Some African nations refused to participate due to Nigeria's political situation, and a delegation of Indigenous Australians departed after the opening, stating they were neither Black nor African.

Despite the controversies, FESTAC '77 remains a significant milestone in Black and African cultural history. Its legacy lives on through the infrastructure built in Lagos and as a powerful symbol of Pan-African solidarity and cultural identity.