Overkilling Video Appearance

This intro is for eagle-eyed family and friends who have been spotting my millisecond-head-nodding appearance on Djinee’s blazing hot Overkilling video. Let’s clear the air, I wasn’t paid for it, merely a personal arrangement between the artiste and I (please no reading between the lines!). Really, if I were contracted would I be content with a fraction of a second frame shot of myself..? no way! I would have been all over the screen such that people would be confused whose video it is, Djinee’s or Adenrele’s?

Working in the media has naturally brought me into proximity with scores of gifted and inspiring Nigerians. Like in my off-the-job people encounters, some of these relationships I nurture, others I discard and some I allow the tide carry us. While, I’ve always been a huge fan of Djinee’s refreshing originality as a musician, I would have politely declined if I were asked to appear scandalously-clad and rump-shaking. No disrespect to professionals who get paid to do that; after all, it is widely believed that sexually titillating symbolism can sell practically anything (authenticity of this theory in relation to the product and its target consumers will be interesting subject of writing for another day).

For Overkilling, I didn’t particularly mind being seen on the video of a song with a strong positive message (which is explicitly reviewed on this blog). Nonetheless, I was snagged between being a video hottie ⎯ without coming across as sleazy ⎯ while also keeping a tough mien in line with the videos theme. A very complicated mix and the end result?.. comme ci, comme ça! (so-so). In totality though, the video rocks (superb SFX by Pixel Chaos), is very likely to win awards and worth every kobo of purchase.

On a witty note, my cheeky brother informed me that I’d landed myself a free gate pass into the hip-est and swankiest social establishments in Lagos simply on face recognition! My comment on that would be… coooool!!! However, after series of cameo video shoots and life successes, my existence should count for much more on earth just like a tree whose leaves are evergreen.

Now that would be super coooool!!!

Glossary

Waka Pass: A phrase used in contemporary Nollywood parlance to explain a very small and almost forgettable part played by an actor/actress. Also known as ‘Walk-On’ in Hollywood.

Eka’abo, Nno, Sanu da zuwa, Akwaaba. It’s finally here! My blog and online diary… of sorts.

In this cyberspace, I’m not restrained by the ethics of professionalism (my day job is journalism; my passion is written words) nor am I curtailed by the boundaries of page space. It is a world I have created to unfetter my writing while I also moderate my thoughts and opinions in ways that edify.

Keep your chin up

Many friends and associates query my continued absence from the Lagos Arts and Entertainment circuit. I’ll put it down to two reasons predominantly.

First, my organisation is undergoing some restructuring and rebranding process which has taken us off the news stands for nearly 9 months. Consequently, I’m not under official obligation to attend events, shows or exhibitions. Yet, I had been doing so purely for my delight until I recently survived a road rage experience with a ‘Mad Urban Bus Driver’. Barring that he was recklessly ‘doing one-way’ and almost ran me off the narrow bridge I was navigating, he also ran into my boot and damaged my rear lights. Naturally, getting into a you-go-repair-my-car squabble with the already fleeing driver was out of the question at 11:45 p.m.

Which brings me to the second reason why I’m presently social-life shy. Some of the hazards I face doing the arts and entertainment circuit in Lagos are those associated with late night driving. Many nights, I had left my office or events as late as 11.30 p.m ⎯ yes oh!  ⎯ heading home. I once drove home from African Shrine, Ikeja (where I’d gone to cover the 2008 Felabration) at 4.30 a.m! and alone too!! In retrospect, these travel hours send shivers down my spine. Then, imagine how foolhardy it becomes when done ‘under the influence’ (word to every driver who gets a kick from DUI, it could get a kick out of you in a split second oh).

Nagged by pangs of conscience that my family stayed awake and worried until I arrived home safely, I learnt to drive like a speedster. Woe unto the stray cat or suya seller that dared cross the road with my foot down hard on the accelerator. But in a sober moment, what if I did have to stop for a good reason..? Like for a huge crater masking as a pot hole which litter Nigerian roads? Woe is me, if my car had hit one of those when I was doing 140kph on the speedometer! Seat belt, airbag, ABS and shock absorbers in my Toyota Corolla could very well fail nor would those devices eliminate structural/mechanical damage to the vehicle.

That is how I’m reminded of God’s mercies; I have done things and taken risks (shocking ones for a girl) and I came out of them relatively unscathed.

But the bus driver sha!! If no be say I dey spiritually tuned to forgive, my thoughts to him would have read something like this ???!!!%xxx✂☒☠!!??!!xxx!!!☢☠! In humility though, the real me would say this ♡☺♡ ♡☺♡ ♡☺♡ ♡☺♡ ♡☺♡. Why? because I’m real enough to know I may have hurt people in ways that made them want to say ???!!!%xxx✂☒☠!!??!!xxx!!!☢☠! ✕ infinty to me!.

Therefore ‘Mad Urban Bus Driver’, even though my experience with you inconvenienced and traumatised me for weeks, I have overcome my resentment and fear of heavy or articulated vehicles and their drivers. It is indeed easier to forgive and move on with living beautifully.

Every so often, certain things occur which may be divinely orchestrated to make us stop, take stock and re-strategise. I embrace the ‘forced’ hiatus positively. In this time, I opt to renew my party energy, enjoy true friendships and get spiritually grounded so I can keep my heart and soul while I partake in this world.

Now, I am free and rearing to go again… at least until I employ a rational driver or move to the island which is location for my regular haunts!

Glossary

1. Eka’abo, Nno, Sanu da Zuwa, Akwaaba: These words each mean WELCOME in Yoruba, Igbo, Hausa and Fante languages respectively
2. Doing One-Way: A phrase commonly used in Nigerian lingo which means to drive in the wrong direction on a one-way road.
3. Suya: A shish kebab-like West African food, originally from the Hausa people of northern Nigeria. A part of Nigerian cuisine, Suya is generally made with skewered beef, fish, chicken or pigeon often served with ground pepper and onions. Suya has proven to be an extremely popular evening snack sold by many roadside vendors.

If Djinee asked me to make three wishes that he were obliged to grant, they would be…

1. Sing! 2. Keep singing!! 3. Pleeeeez sing some more!!!

Delivering timeless romantic lyrics with the timbre of an operatic tenor and the swish tone of a contemporary Nigerian artiste, Djinee (pronounced as Jinee) has turned out to become a fascinating singer and he ‘no dey shame’ to show it.

Four years after he blasted into our auditory senses with the award-winning ‘Ego’, the ballad singer recently hit the market with a debut 17-track (including bonuses) self-titled album Djinee!

Pooling together an array of top-notch musicians, vocalists and producers (Cobhams, Frenzy, M.I, Nikki Laoye, Ego, Jesse Jags, Mike Osadolor, Don Jazzy etc) to collaborate with him on the album guaranteed the compilation a work of dedicated professionalism. Primarily, the album Djinee! is a collection of ballads and songs that celebrate the good life and love uninhibited in expression and unrestrained in intensity.

Lyrically, men secretly identify with the often repressed instinct to selflessly pleasure a lover and likewise bask in her undivided reciprocation. And for us girls… we just so hate ‘Ego’ and ‘Lade’ (female love subjects in his songs) fantasizing his lines have been desirously sang with our name, melodious or not!. Haba! How often do you hear a man tell you ‘I go naked for road for you baby’? Sounds obsessive and psychotic abi..? Well, we like!

Vocally, Djinee has shown amazing dexterity in pitches and modulating so adeptly that he may be considered somewhat of a show off.

Conceptually, Djinee! debunks stereotypes associated with ballads by innovatively arranging lyrics over beats from music genres not classified as traditional rhythms for heart and soul music. Afro-centricism dominates the core of this album; our swagger, our vernacular, our beats and our culture can be heard throughout the album.

In the critically-acclaimed ‘Lade’ ft M.I, we hear House music-influenced psychedelic sounds overlaid by Djinee’s soothing lyrics, which is an enchanting reverie.

‘Na my Wife’ infused with highlife rhythms, extols the beauty of an African bride. Songs following ‘Forever’ and ‘Uruese’ (a thank you God track) are similar in style and melody. There’s also ‘Overkillin’ a fast-paced hip hop track that is quite the rave with radio presenters. The song, which confirms Djinee’s versatility as an artiste, is deeply philosophical and takes jibes at vainglorious living. It is so hot the hit-making lyricists at Chocolate City had to drop their rhymes on a remix.

‘My Pillow’ is a seductive ballad that personifies what Djinee’s music does to hordes of his female fans. However, coming closer to epitomise his trademark My-life-is-empty-without-you-music is the 2007 hit ‘I No Dey Shame’ a soft rock composition that talks about unconditional and self-assured love. I did hear someone say that she shed tears first time seeing the music video; that’s the kind of effect his songs have on emotions. Djinee simply cannot hide his classical training background, it is evident in the beautiful song ‘Thank You’ and ‘My Love’ a techno love song produced by the magical Frenzy.

Come sun, come rain ft Ego Ogbaro is one of the most outstanding songs on the album but also with the most conspicuous flaw. On the strength of its lyrics, sound composition (Midas touch by Cobhams) and individual performances from Ego and Djinee, it should be a masterpiece across board. However, it takes more than two great singers to transform a song from … oh! a duet… to an all-time unforgettable music. Every other ingredient for this was in place but the song was missing a vocal synergy between the two artistes. The kind of consonance Keri Hilson and Chris Brown pulled off in Superhuman or more appropriately the chemistry Lionel Richie and Diana Ross had on Endless Love, that timeless ballad.

Listening to the songs in running order, a monotonous melody pervades the album after the eight track or so. Almost like you’ve heard one, you’ve heard it all. This is quite misleading because there are yet fabulous pieces further down. I particularly like the Opera Skit with Cobhams on Piano and Ego Skit accompanied by M.I on piano.

However, the clincher lies in the artiste’s singing style, it is so distinctly peculiar that it may require variations occasionally just to keep us guessing but entertained.

I think Djinee! The Album is an evolutionary phase for the artiste; discovering new techniques and exploring possibilities of making music not only for the mainstream but for discerning music aficionados. There is evidently something for everyone. Without fear of contradiction, I would say this is impressive effort from a consummate performer.

Quoting 9ice’s ‘don’t doubt me I go bring home Grammy’ coupled with respectable debuts like this compilation, I do look forward to a day when the content and quality of our music will get us that famous statuette.

This article was first published in Questionmark Magazine (online) in September 2009.

Hennessy Artistry 2009 birthed three weeks of electrifying live performances from five of Nigeria’s urban music nascent artistes. Courtesy Hennessy, world renowned cognac makers, these burgeoning musicians took their stage craft on a circuit of top-billed club locations around the brimming city of Lagos.The definitive goal..? Discovering which one of them possessed the ‘illest’ lyrics, rhythm and stagecraft worthy of being dubbed winner of this year’s competition.

Reigning Hip-Hop sweetheart, M.I, heralded and closed the exhilarating grand finale performances that left both competitors and their enthusiastic audience breathless with excitement. After hushing of groupies’ screams, Chocolate City’s Ice Prince surfaced top dog. Giving credence to earlier prophecies by hip hop disciples that Nigerian music was on the verge of experiencing unimaginable and inevitable glory and fame via hip hop. With M.I cosily cushioned as unchallenged heavyweight MC of the pulsating music scene and unapologetically edging out established names on his sensational climb to dominate the contemporary urban music landscape, it’s not delusional to believe this soothsaying. And it goes without saying; Ice’s victory is a well-deserved and well-fought for success for the ‘Choc Family’ (Jesse Jags, M.I, Audu Maikori).

However, not taking anything away from Ice Prince’s individual brilliance, the nagging thought hard to shake off is, was he the most intensely captivating artiste in the Hennessy Artistry ’09 lot (competitors) and is his ‘game’ world standard? The judges and audience voters seemed to think so. Other educated opinion holders defer vehemently. Thus, trepidations are in order considering that soon enough, Ice would be in New York to perform and represent Nigerian music and swagger at an international gig that would also feature the lyrically profound Common and the Roots Band.

Who else could have won? Now that is a truly nail biting one… Blaise had amazing performances and tight lyrics only they were a couple of steps short of the WOW! zone. Jimmy Flames rocked the ladies and showed eclectic skills but winning the judges over turned out to be a hard task. For her sassy style, cute Mo’Cheddah was everybody’s favourite and she got consistent cheering at every appearance; her progress into the finals was foregone conclusion. Skills aside, Ice Prince had the preternatural sixth man advantage – the aura of his close association with in-vogue M.I clung to the atmosphere like a good omen. Refreshingly imaginative Bez most definitely pulled out all the stops for his soul music to register on the sound meter in a predominantly hip-hop competition (totally wielding the live instruments edge with his guitar skills). Register and resonate it did ushering him into the finals.

Again, popular belief that hip hop is the next big thing for Nigerian music, may explain why Bez could not make it past the judges before a winner was voted.

Candidly, it would have required prescience and a crystal ball if the three celebrity Judges were expected to predict with bulls-eye accuracy which of the finalists would quite absolutely blow up not only on the local scene, but also as an international recording artiste. Also bearing in mind that the Hennessey brand is a globally recognised trademark on whose clout and purse such an artiste could get a well-lubricated launch pad to musical success.

Here lies the connection; is hip hop the principal culturally representative music export from Nigeria in 2009? Quick recaps of musicians (the Rex Lawsons, Felas, Sunny Ades, Femi Kutis) that have brought worldwide ovation and respect to Nigeria reveals a pattern – they did not achieve global celebrity doing ‘borrowed’ music styles. Similar examples abound all over the continent – Miriam Makeba, Angelique Kidjo, Hugh Masekela, Youssou N’Dour, Papa Wemba and it goes on. If the former list contains members of the ‘old school’, then explanations are due as to how contemporary Asa wooed the developed world with indigenous soul music selling out her ground breaking album and overseas concerts. Ironically for many years, she struggled to breakthrough in Nigeria barely being acknowledged as a musician to watch. Not overlooking Congolese musician Awilo Lomgomba, who by popular votes (over 120 countries voting in), had a historic win (Soukous Entertainer of the year 2009) at the International Reggae and World Music Awards for his new album Super Man.

It would be foolhardy to ignore the logic that the world pays attention when creativity is boldly and stunningly exhibited through a method previously unseen or to which it is unaccustomed.

This, perhaps, is why African art works can be stolen from our lands or bought ridiculously cheap and brazenly displayed in museums around the world.

Possibly, this instinctive downplaying of our cultural uniqueness in music, as prevalent currently, is traceable largely to role models/influences from a variant social orientation which shapes our creativity. Here in lies another mind boggling thought? Is Ice, Mo’Cheddah or the next Joe Bloggs rapper not at artistic privilege to express their lyrical content through a hip hop medium if they so desire? But, while hip hop might be fast spawning lyricists in Nigeria and some other parts of the continent, what is this going to do for our music industry? It appears there is an introspective perspective to African hip hop; the genre is not original but it has over time undergone a transformation (a fusion of indigenous patois and style) to create a hybrid music form. How much of an impact this will make outside the shores of this continent (where an enormous market is begging to be captured) waits to be seen. Of course, artistes of 1st generation African descent who have broken into the European and American mainstream and made significant impressions as lyricists or singers were overwhelmingly shaped by Western influences (Akon, Sade Adu, Dr. Alban, Wale, Seal).

Nonetheless, props must go to Hennessy Artistry for helping Nigerian urban contemporary artistes discover the art of live performances. It is hoped there would be marked decline in CD mime along stage acts that have so plagued music. In that case, the 2009 winner deserves all the back patting he gets. Primarily this triumph is about exhibiting his individual art, and how its enhancement might bring him more trophies. Consequently, let the local music industry’s hunger for national glory take back seat and in interim maybe await the birth of a truly compelling Afro hip hop messiah.

I have been accused of propensity towards a Laissez Faire (let nature run its course) attitude when it is expected that I should have a judgment on issues. Well, if I were asked my take on the raging debate about nomenclatures and ‘Naija’ (ooops! forgive me Uncle Reuben!) music, I would say bemusement and maybe some amusement.

Why? I’m bewildered that our artists’ think Uncle Reuben (no relative of mine) has committed the unforgivable sin by his tad bit ‘too critical’ observations. Reuben Abati coming down hard is indicative that he probably was driven by genuine desire for improvements in our content and individual artistic development rather than ruining careers. Also, the fact that those who determine the commercial success of a song are not necessarily discerning music followers should not be discounted. This affects the quality of songs.

Now for some fun arrow shooting!

My Bemusement

Recently, I read Don Jazzy‘s interview with a well-known soft sell magazine. He was quoted as saying ‘D’banj is not a fantastic singer’ or something in that context. Oh, I must also mention that the vocally impressive Banky Wellington aka Banky W during a chat with a very ‘hip’ TV music channel said listening to M.I’s album made him feel awful about his (Banky’s) recently released album. And there is Eldee who, prior to being a Naija (what is wrong with my hands?) returnee, had lived many years overseas developing his art as a musician..!!? I’d love to see details of his recorded or produced songs on any American music chart, number on the chart irrespective.

Aaah! I bet nobody wants to be reminded of the 9ice debacle during the Zain organised musical tribute for Nelson Mandela. Or like a Next 234 columnist wrote, “who wants to know about 2 years ago when Wande Coal was in Mushin?”

Hear this creative friends, Naija’s artistic environment is not a dumping ground for mediocrity; loud and unequivocally clear. When our predecessors Orlando Owoh, Dan Maraya Jos, Victor Uwaifo (the guitar boy), King Sunny Ade, Oliver de Coque and tons of other exquisite artists started out, they did with live musical performances. They pounded the tough turf of road gigs and band rehearsals and learnt how to sync with different musical instruments. Small wonder Sunny Ade has been made Artiste-in-Residence, Distinguished Fellow and music Lecturer at Obafemi Awolowo University? Eeehm, but he can’t speak ‘fone’ and maybe semantically straight English someone says. Who cares! I want him to transfer his ingenuity, stage craft and expansive musical knowledge, built from conscientious study, to my children. I’ll hire an English tutor for grammar.

Might I dare to oppose the respected leader of thought?

My Amusement

Yes oh Uncle Reuben, I have bones to pick. It appears there may be a disconnection between you and people of this generation to which I have on good authority that you belong. Nevertheless, we refuse to allude our obvious incompetence to the inability of previous generations to lay sustainable life foundations.

It is though true that this current music generation is creating a spin-off industry of clothes makers, brand managers, show promoters, Alaba pirates and the list goes on like never before.

However, I can’t shake off the foreboding thought that every thriving human venture (prostitution inclusive) will spawn people who will feed off it.

Well, I can point accusing fingers at the 20th century Naija (you would have to get used to this word) musician, for tainting impressionable young minds (like mine!) with suggestive lyrics like ‘What do you have under, what do you desire; Sweet banana!’. I remember my father plugging my ears and later he out rightly refrained me from listening to this crap.

I still cringe when I hear 40, 50, 60 year old men gleefully talk obscenity at social gatherings or even in some newsrooms! Now, what do you expect? This new-age artists are a brazenly remodelled package of what had been. What we sow is what we reap.

As for the nomenclatures, I would rise in defence of Flora Shaw by asking that we treat her relationship with Lord Lugard with a little more propriety. In the prevailing Naija cultural setting, there is no such thing as a mistress. Besides, she ended up being his wife, so what biased history lessons are we giving uninformed readers? We also know that the nomenclature Nigeria is still being subjected to discourse and counter analysis… does it truly reflect our status as a blissfully content Nation?

Choosing a concocted moniker, as an artiste brand title, is globally acceptable. Banky W was on spot when he observed this aptly as keeping your eyes on the business side of Show Business. We must not adopt double standards; one law for all. If I am a journalist or author and choose to write under a pseudonym, as Mary Ann Evans (George Eliot) or Charles Dodgson (Lewis Carroll) did, it doesn’t mean I cease to be Adenrele Niyi. New Yorkers would never forget the cultural or historical import of their city just because it is called the Big Apple. Same applies to Lagosians aka Las Gidians or Nigerians aka Naija peeps.

I’ve had a good laugh and I am a woman under authority; page restrictions. Nevertheless, I wrote two interesting and enlightening articles earlier this year, one of which is presented here, prior to any of these shenanigans. They were and still remain my candid take on what I perceive in our 21st century, all-the-rage yet deficient music industry.

I’m excited about Nigerian music for very good reasons. I have been listening hard to our artistes in recent times and if my auditory organs are still functioning in tandem with my brain, our musical art is qualitatively gearing itself to compete massively on a global scale.

Some justified cynics might ‘pooh-pooh’ my excitement putting it down to arty exuberance but that’s okay. I am open to criticism, after all, I try to dispassionately review my perceptions vis-á-vis all relevant and available indices before converting it to an opinion. In other words, before I share a perspective with the hard-hearted, open-minded or gullible, I would have brood over it for weeks or months letting it gather self-sustaining momentum. However, to be brutally honest, a lot of trash pretending to be songs are increasingly being churned out of Nigerian ‘musicdom’. So, yes I have to agree with the cynics there.

In February, I attended a ‘much-touted’ album launch party organised by a rave record marketer for its
equally hyped artiste. I refuse to mention names which can put that artiste’s career in jeopardy but really, shouldn’t we be treated with a little more respect when music is being composed?

Besides the fact that the album party was an arena to hobnob, see and be seen, nothing spectacular happened in this particular case to convince me that musical art was entering an explosive stage.

Our ‘unnamed’ artist performed three songs from an album of almost 20 tracks. The performances? Well, if you consider that a large percentage of the crowd was high on something; another percentage just grateful to be counted among the ‘cool crowd’ and obsessed fans, then the artiste may as well have slotted his CD into a disc player and gone to bed. It was that flat, no encore performance.

But of course, kite-high-sycophant Nigerians that we are, everyone cheered and roared after each performance. I sincerely pray that our ‘encouraging’ response would match the returns into the artiste’s bank account from album sales. At the end of the day, this is what counts to the marketer, record label and collaborators.

Now, fast forward to early last month.

On a drive from Ikeja to Victoria Garden City, I spotted ‘short, black’ M.I’s CD being sold by record hawkers and spontaneously I got a copy. Driving to the Lekki-VGC axis anytime from 4p.m on a weekday is the Lagos motorist’s worst nightmare… the traffic is horrendous and nerve-racking. My friend, who was doing the driving (thank goodness!), raised a sceptical eyebrow when I requested that we tried some hip-hop music (many Nigerians born in the 60s or early 70s still find it hard to decipher the whole hip-hop culture that is aggressively gaining ground).

Well, I was eager to pass that traffic-time assessing MI (Mr. Incredible)’s work for a subsequent review. Understanding the nature of my job, the gentleman graciously obliged me.

There begun our rapid conversion from born-in-the-70s-skeptic and justifying-my-salary-reviewer, to duly-impressed-by-talent listeners.

It isn’t rocket science, if you have an astute mind and seek to appreciate art for content rather than aesthetic appeal, then get set for an incredibly (excuse the pun) climatic rush obtainable only through works of pristine intelligence. Spunky Jude Abaga (M.I’s real names) has paid his dues in so short (again excuse the pun) a time. Talent can’t be purchased, it is either you have it or you don’t. Anyone who grew up listening to Snoop Dogg’s 1993 record breaking ‘Doggystyle’ album should listen to M.I’s ‘Talk About It’ and we can’t refute that we have a chartbuster on our hands. It wouldn’t be going overboard to audaciously line it up with L’il Wayne’s 2008 ‘Tha Carter III’ album, which got eight Grammy nominations and won three of the coveted gold statuette.

Creative hardwork, clever cocktail of songs and sheer ability have made M.I’s lyrically sharp album much talked about, the way Beyonce’s maniacal devotion to her abs and choreography makes her one the world’s most fascinating entertainers (hate or love her, it’s the fact).

Feelers from the industry say M.I’s album sold out (over 30,000 copies) the week it was released. Now which artiste or artiste management would not like to hear that eh..? Let’s also not disregard the number of shows or albums he features in/on. Someone said to me recently that maybe M.I is becoming too much of an accessible artiste, which could hamper his musical value. Well, I say make the most of your success M.I because the second you lose your fresh appeal or focus, likelihood is that we will forget about you.

Why am I harping on M.I.? Because debutante music artistes can learn a thing or two from him, Fela Kuti, Micheal Jackson, Victor Uwaifo, Tupac Shakur and just about any other giftedly successful musician.

Making music can be fun and rewarding but it is largely dependent on possessing the commensurate creative talent. However, it’s the wild energy and the resultant lyrical content that bothers the ‘worried-about-our-music-Nigerians’.

With every sense of fairness, as I already expressed, it would not do to bunch every artiste up into a crowd of musical rabble-rousers or empty barrels. Nevertheless, the swelling rank of shallow musicians is rapidly drowning the brilliant voices.

In retrospect, I have always contended that Fela’s inventiveness, though naughtily expressed, was not acknowledge nor hailed by critics; they were too focused on the lapses in his private life.

Interestingly, posterity has shown that the rebel ‘Abami Eda’, controversial life and all, was one of the greatest black music composer and instrumentalist (just listen to his horns) to come out of Africa and I dare say the world.

I’m sure Fela was not thinking about pleasing listeners or achieving enormous record sales when he composed music. He was singing from his heart, with the eye of a prophet, and the ears of a perfectionist about subjects that affected everyone but always got him in trouble with authorities.

Therefore, it gives me goose bumps to think that our new-age artistes are singing about drinking binges, skirt-chasing, wanton display of money etc out of the abundance of their hearts. Through music, (whether in Nigeria, America, Europe, wherever!), some artistes and their videos subtly or overtly seduce impressive youngsters (and foolish adults) to indulge in alcohol, marijuana, and absolute debauchery. What hope for our creativity as a tool for revolutionary social change!!? What about being a positive change agent for generations!!?

We have to stop this fad of making music in compositions so shallow a mosquito can’t even drown in it and lyrics so mentally lazy and egoistic it gives you a headache!! Puuuleeeeeze!

The Nigerian Censors Board and Performing Musicians Association of Nigerian (PMAN) have their work cut out for them. Some measures should be put in place and enforced to safeguard our musical assets and our ears. If this is done, then true gems or diamonds in the rough can be polished to bring out the glimmer which I believe is presently inhibited to properly sparkle within the obtainable music space.

This article was first published in National Mirror of April 1, 2009 and reproduced in Sunday Guardian July 6, 2009

Out of sheer curiosity, I asked rapper ModeNine what ‘rut’ pattern he wanted to see filled out in the Nigerian music industry and in one phrase he said ‘the band wagon of reggae tone beats’. The Red Eye Record label artiste is piqued that Nigerian artistes have become deeply cocooned in their comfort zone of staccato beats.

Mode is basking in the euphoria of his newly released album and in being one of Nigeria’s, (if not the most) distinguished hip-hop artiste. Three 2007 Channel O music video awards and a HipHop World award for Lyricist of the Year 2008 are no easy feats. It comes with innovative brilliance, grim determination, jaunty attitude and an insatiable thirst for knowledge.

Late last year, the imposing Rapper hosted a ‘no-airs’ listening party for his new album ‘The Paradigm Shift’ while few days after, the eagerly anticipated album was released into the market. The twenty-two track ‘Paradigm Shift’ is a gigantic project that involved collaborations with artistes currently burning up our airwaves and hot upcoming others. It is no longer news that Banky W (and his amazing vocal cords) featured on commercial hit ‘I’m Talking to You’. Then there are other collabos with the incredibly talented Sound Sultan; fresh and sultry Eve; Sage the spellbinding Poet; Mallam Spicy and Soul Sensi.

It would be doing the artiste great injustice to typecast him as a ‘militant’ rapper or his ‘in you face’ music as virulent outbursts from an angry lyricist. Again, this should not interpret that Mr. Nine will back out of a challenge; if it must be known, the prolific artiste will competently take the fight to any contender’s backyard. Maybe delving into historic war literature, one of his favourite past times, has honed Modenine’s word-fight skills or studying the art of war by famous/infamous generals has helped his musical strategy. Whichever the case, hip hop’ music is not always about ‘battles and war of words’ precisely what Paradigm Shift has set out to declare. It is pleasing to hear some serious ‘schooling by these hip hop Lyrics’ to borrow Djinee’s hook in M.I’s ‘safe’. The album is a trip into the mind of it’s artiste and a meditative rhythm of words. Some of the tracks may not be club bangers but they carry impressive weight in lyrical content and depth. Truth is we can’t have it any other way.

As an artiste, if your art does not positively influence, inspire and build up, it is a shameful waste. Somewhere in the barrage of words and beats must be tiny nuggets worth any buyer’s N150 (one hundred and fifty naira); an amount which according to industry persons is a sad reflection of the artistic value of Nigerian music.

During the listening party, Black President caught my ears and interest particularly when Barack Obama’s name up; it was a misnomer. Why? Because, though Obama had achieved the momentous and the inconceivable, I was getting a little bored with his success. More so when it has no direct ‘bearing’ on the quality of our leadership or how Nigerians were faring. Thus, I queried the artist, ‘was he becoming a praise-singer…? Had he hopped on the ‘bandwagon’ of African-American hip hop stars who were churning out election success songs; a symptom of Obama-mania delirium…? In a matter of fact tone, Modenine corrected my assumptions explaining that the song had been a ‘near completed work’ months before Obama’s election victory. Black president was a song written to celebrate iconic black figures like Fela and Nelson Mandela. Fortunately, while he was putting finishing touches to the track, the U.S election result were announced and Nine though it fitting to acknowledge the landmark achievement of the ‘Kenyan phenomenon’.

Influence, respect and power are qualities the ‘Glo Ambassador’ emits and gravitates toward. He is simply fanatical about books, intelligent conversations and ‘wicked beats’. The unconventional lyricist prides himself on working with not necessarily the celebrated but no less brilliant people in the industry. Over years in his musical career, the veteran artiste has merged with a dynamic team of daring industry people who have set clear musical horizons for themselves and seek new frontiers to explore this.

In the course of our interactions, I sought chinks in Mode’s ‘armour’ after all everyone has a weakness; (it could be anything from chocolate; money; sex; fast cars or pilfering public funds). Voila! I had found his. The lyricist indicated a bit of handicap rapping in Yoruba (his mother tongue) and displayed an endearing bashfulness when pushed to do so. He gave props to fellow rapper Lord of Ajasa, and award winning 9ice who have broken barriers and opened up indigenous yet contemporary music to serious contemplations within the Art.

As our conversation lightened, Mode, in encore mode burst into two minutes of pure, unadulterated Yoruba rap without missing a beat. Stunned, I asked him why the initial reluctance and why he never goes indigenous on his tracks. The artist said through the years, he had learnt to harness his uniqueness and allow others thrive in theirs. With his rare and short-lived Yoruba freestyle session, Nine succeeded in proving that he welcomed challenges because they provided room for growth and opportunities to alter existing superficial paradigms.

This material was used in National Mirror Newspaper of February 4, 2009

We smoke cigarettes                                   They sniffed powdered tobaccoWe drink fine liquor                                    They enjoyed fermented Palmwine

We use internet Search Engines           They consulted the Oracle

We use Vacuum Cleaners                       They swept with dried palm fronds

We use mobile phones                             They heralded through town criers

Crown Troupe of Africa, under the directorial leadership of Segun Adefila gave a rousing stage performance of ‘The Divorce of Lawino & Ochol’ a dance-drama adaptation of Obot p’Bitek’s poems. Written into play form by Chinweizu, Adefila’s troupe had a two-day showing, 23rd and 24th August 2008 at Studio 868, Victoria Island, Lagos. Reminiscent of Lakunle and Sidi’s Shenanigans in Wole Soyinka’s masterpiece ‘The Lion and the Jewel’, theatre audience were captivated and amused by the intertwining dramatisations in ‘the Divorce of Lawino & Ochol’ till the curtains dropped.

Crown Troupe employed expansive theatrical elements to bring this play alive. Most significant of which is expressive dance routines that combine symbolism and spoken words to convey the intrinsic essence of the drama. Adefila also explored the use of soliloquy, stage props and role switch to compliment the beauty of a well-written poem.

The Divorce follows the path of ‘modern madness’ which seizes Ochol, a village dweller who after exposure to the attractions of city life, decides to divorce his rural wife, Lawino. Besides contending with modern trappings for Ochol’s attention, Lawino additionally has to deal with a 21st century femme fatale armed to the teeth with sophisticated ‘weapons’ to snare any man she desires. Apparently, this –modern woman- is the deadliest foe Lawino has to overcome to get her sweetheart to abandon his hare-brained divorce idea.

According to the play, Lawino symbolises everything old and traditional; culture long despised, discarded and buried. She wears her hair natural; face devoid of make-up; clothing of richly woven Aso-oke; skin glistening with cam wood oil and traditional tattooing; breasts unsheathed; and plump buttocks jingling with strings of glass beads. The intelligence is native but the speech is cajoling, respective and seductive.

These attributes separate Lawino from super-sleek and fashionably slim Tina, who wears her European hair well-coiffured; lips crimson and pouting; skin over processed with enhancers and breasts well-padded. Tina prides herself on her communication skills and is sometimes very outspoken. She is adept at using all modern appliances/technology and skilled at satisfying the appetite of a new age man Ochol pretends to be.

As the dramatisation progresses, Lawino turns out to be more than a handful for Tina. She has a history with Ochol she uses to her advantage and ultimately, it becomes her winning edge. Lawino is a die-hard fighter; in spite of Ochol’s consistent rejection of what she symbolises, our heroine holds on to him tooth and nail. In the face of such resilient opposition, Tina’s whimsical personality is exposed and her love for Ochol flees without remorse.

For a people confronted with myriads of choices every second, such as we are, the toughest challenge lies with making a decision among offers that are differently packaged but which promise equally gratifying experiences. Our culture has held out over years of subtle incursions of modern element and appears to be losing the ‘tug-of-war’. Paradoxically, the supposedly archaic is discarded for what turns out to be a well-packaged upgrade.

The play juxtaposes the ancient beside the modern and queries possibility of a merger between the two not-so-variant eras. Lawino proposes this to Tina when she says ‘I’m willing to make room for you to come and share Ochol’s affection with me’. At the end of the play, Crown Troupe reminds us that death, which is the terminal point of a life journey, is one choice that is non-negotiable… man’s unifying barrier breaker.

Characteristic of the Troupe’s stage presentations, they turned out in appropriate costuming sometimes for exaggerated effect. Backed up by a live drumming ensemble, the actors also made good use of the Studio 868 stage; spectators seated on the gallery did not have to crane their necks to see.

Traditional folklore female singing quartet, Adunni Nerfretiti, beautiful in their rich African gears performed a soulful medley of songs that rounded-up what could best be described as a superb night of drama.