Agogo

Agogo may refer to

See also

Agogô

An agogô (Yoruba: agogo, meaning bell) is a single or multiple bell now used throughout the world but with origins in traditional Yoruba music and also in the samba baterias (percussion ensembles). The agogô may be the oldest samba instrument and was based on West African Yoruba single or double bells. The agogô has the highest pitch of any of the bateria instruments.

Construction

Each bell is a different size. This allows a differently pitched note to be produced depending on which bell has been hit. Originally wrought iron, they are now manufactured in a variety of metals and sizes for different sound qualities. The most common arrangement is two bells attached by a U shaped piece of metal. The smaller bell is held uppermost. Either bell may be hit with a wooden stick to make a cowbell like sound or less commonly a clicking sound is produced by squeezing the two bells together.

Religious origins

It is used in the ceremonial music of religions in Yorubaland as well as in their new world practice, which are based on beliefs brought by slaves from Africa such as candomblé. It may be officially used for congregation or heralding the coming of a dignitary. It is the main instrument of Obatala and Orisa Nla (Orisa Nla o, Alagogo Oje o). (Both Obatala and Orisa n la are very important Yoruba divinities).

Agogo, Ghana

Agogo is a town in the Asante Akim North Municipal District of the Ashanti Region of Ghana. Agogo is approximately 80 kilometers east of Kumasi, the capital of the Ashanti Region, and had a population of 28,271 in the 2000 census. Computer projections estimate the 2007 population was 32,859.

History

Around the year 1500, the people of the Aduana clan in Asantemanso, who were originally from Esumegya, dispersed to settle in different parts of the country. One group settled at Nyanawase under Ansa Sasraku, but moved again after a series of wars with the Ashantis and the Gas. In the end they settled in Akwamu.

In or around the year 1600, three chiefs of the Aduana clan: Ofori Krobon of Agogo, Ntori Nimpa of Kwaman, and Effa Kai of Kumawu left Akwamu and joined forces under the command of Ofori Krobon of Agogo to fight and defeat Ataara Finam, who was the supreme ruler of the Afram plains at that time. This war lasted for almost three years. All the lands controlled by the vanquished Ataara Finam were annexed to the three stools who were independent of each other. Because of this annexation, the three stools - Agogo, Kumawu and Kwaman - all controlled some of the most extensive land possessions in the Ashanti Union. Their lands extended to Akwamu, the Volta Region, Brong Ahafo and to parts of the Northern Region.

KMFDM

KMFDM (from Kein Mitleid Für Die Mehrheit [sic], translated by the band as "no pity for the majority" [sic]) is an industrial band led by German multi-instrumentalist Sascha Konietzko, who founded the group in 1984 as a performance art project. KMFDM has released nineteen studio albums and two dozen singles, with sales of more than two million records worldwide.

The band has undergone many line-up changes and featured dozens of guest musicians. Its earliest incarnation included German drummer En Esch and British vocalist Raymond Watts, the latter of whom left and rejoined the group several times over its history. German guitarist Günter Schulz joined in 1990; both he and Esch continued with the band until KMFDM broke up in 1999. Konietzko resurrected KMFDM in 2002 (Esch and Schulz declined to rejoin), and by 2005 he had assembled a consistent line-up that included American singer Lucia Cifarelli, British guitarists Jules Hodgson and Steve White, and British drummer Andy Selway.

Critics consider KMFDM to be one of the first bands to bring industrial music to mainstream audiences, though Konietzko refers to the band's music as "The Ultra-Heavy Beat". The band incorporates heavy metal guitar riffs, electronic music, samples, and both male and female vocals in its music, which encompasses a variety of styles. KMFDM normally tours at least once after every major release, and band members are known for their accessibility to and interaction with fans, both online and at concerts. Members, singly or working with each other and others, have recorded under many other names, primarily Watts' Pig in 1988, Konietzko's Excessive Force in 1991, and Esch and Schulz's Slick Idiot in 2001.