The fun continues for followers of classical and other genres of music and art as The Musical Society of Nigeria (MUSON)hold the 2009 edition of its MUSON festival. This year’s edition,the 12th in its series,which also marks the 26th anniversary of the founding of the Musical Society of Nigeria (MUSON),the celebration started last Sunday, October 25, 2009 and runs through Sunday,November 8, 2009,showcasing stage performances,youth concert,My Kind of Music,indigenous social music,chorale concert,jazz and classical music.
The festival started with a celebration of the MUSON day on Sunday October 25 at the Agip Recital Hall with the MUSON orchestra on stage performing the works of Fela Sowande,Ebenezer Obey,Tony Momoh and W.A. Mozart.Also,last Thursday,October 29,there was a two-session event.The first session,kicked off at midday at Shell Nigeria Hall and features seven young talented students, who competed for the Brandler Prize in the Youth Concert.The winner of the concert will be sponsored for a diploma certificate at the MUSON school of Music,being sponsored by MTN foundation.The second session,under My Kind of Music took place in the evening at the Agip Recital Hall and features four interesting personalities on stage, whose stories are yet unknown to anybody.
The personalities present at this year’s festival are Mrs. Amina Oyagbola, John Momoh, Odein Ajumogobia, Minister of State, Energy and Ms Bennedikter Molokwu.
Oct 30, 2009
Oct 29, 2009
City Peole reception for Ebenezer obey
For his immense contributions to the nation’s music landscape, all roads lead to the multi purpose hall of All Season’s Plaza, Ikeja, Lagos this sunday, as City People Entertainment hosts veteran juju singer turned evangelist, Ebenezer Obey.
According to the publisher of City People Media Group Dr, Seye Kehinde said: “ Evangelist Obey is about the greatest living Nigerian artiste.It gives us great pleasure that he has come in our own generation and if you check around you will realize that his music has continued to absorb from one generation to another.Obey has recorded several hit songs and to crown it all, 70 percent of his songs are evergreen. "We all grew up listening to his songs and when he retired from music a lot of hearts were broken. Still people have not stopped buying his music and its surprising that a lot of youths can sing his oldies, even though that they were not born then.”
Born 27 August 1942 in Abeokuta, Nigeria. His earliest musical experiences were as a member of the local church choir while a child in Abeokuta - his parents, both devout Christians, were also members. He joined the local band Ifelode Mambo in 1955, which despite its name was actually a juju outfit, playing guitar and thumb piano. He also played briefly with Fatayi Rolling Dollar and the Federal Rhythm Brothers Orchestra before moving to Lagos in 1963 and forming his own juju band, the International Brothers, in 1964. Under his leadership, the International Brothers forged a highly individual style of juju,abandoning the percussion and single-guitar style developed by I.K. Dairo ,he added two more frontline guitars and electric bass, speeded up the tempo and simplified the beat. The formula struck an immediate chord with Nigerian juju fans. Obey enjoyed his first hit, 'Omo Lami', in 1965, followed by even greater success the following year with 'Olo Mi Gbo Temi'.
By the early 70s, Obey was rivalling King Sunny Ade in album output and sales, achieving major local hits with In London, On The Town , Board Members and Aiye Wa A Toro. In 1971, he renamed his band the Inter Reformers and retitled his style miliki system (essentially a shrewd marketing move, for the music continued in the same juju style he had introduced with the International Brothers, heavier and faster than that played by most of his peers). In 1972, he opened his Lagos nightclub, the Miliki Spot, and for the next two or three years reigned as the city's pre-eminent juju bandleader. By the mid-70s, however, Obey was beginning to be threatened by the younger Ade. Juju fans split into two camps: those who followed the Master Guitarist Ade, and those who favoured the sweetness of Obey's vocals and the philosophical nature of his lyrics. It was with their lyrics, above all, that the two men identified themselves. Ade's reflected his belief in traditional Yoruba religion, while Obey, always the perfect Christian gentleman, preached the orthodox values of love, the family and peace in the household.
He is presently occupied with furthering the work of God through his Ministry, music ministration and evangelization.
Oct 20, 2009
Orits Wiliki : NBC Should Stop The Trash On Airwaves
IN an encounter with Cletus Nwachukwu of the Guardian Newspaper , reggae music star, Orits Wiliki speaks on his experience in the music scene. Although he is delighted over the standard of music now, he is irked at the quality and content.
Not much has been heard from you in a long while, musically. What's been happening to Orits Wiliki?
I have not quit music because I have two albums out in the market. Several things necessitated my going into the politics of music, because you can't be working and getting nothing in return. The structures in the music industry, which include responsive collective administration, are missing. The situation is so bad that only corporate bodies are strong enough to organise concerts. People are yearning for live quality concerns and what we have are mediocre or poorly organised concerts. We needed to reorganise all that and that's partly why I have had to shut down and do some retrospect on the way forward.
What do you think about the quality of the music being played now?
I would say we have made some kind of progress and if you go to parties these days, you're going to hear only Nigerian music. Gone are the days when foreign music dominated the clubs and other social events. There is some kind of vibrancy in the music industry. However, the vibrancy does not portray the real essence of the game. What we have today is more of show and little or no business. Talking about the musical content, it's really nothing to write home about. And only very few people are dishing out inspiring, edifying and very good contents. These days, the contents are only about booty and such stuff. Looking back to the days of yore, you would see the big difference in the quality of music played now and then. In our time, we were playing music of the future. The only way out of this situation is that the quality control department of each broadcasting station do their jobs and ensure we stop hearing garbage on the airwaves. The Nigerian Broadcasting Corporation (NBC) which is the watchdog of whatever goes on air should also sit up and help put a stop to the trash on our airwaves.
In your days, you played live music but the situation now is quite different. Many artistes now mime. What's your take on this?
The present system has made our artistes lazy and they no longer do their researches. Before I write my songs, I do a lot of research. You don't have to sing or talk about pains and starvation all the time. You can talk about love in different ways and not using the four-letters word. These days, we're selling sex on our videos.
However, I would say the quality of our videos these days is better than that of the old days. I would like to advise that we channel these skills and qualities into positive things. Our videos today can challenge those produced in other parts of the world.
Your hit album 'Why dis, Why dat?' was huge and remarkably different from the latest works. What actually went wrong?
It depends on the side of the divide you are in. Some people love Why dis, Why dat' and others can die for 'Mumbala-Mumbe. 'One Drop' came after 'Why dis, Why dat' and it was followed by 'Mumbala-Mumbe.' There is more yearning for Orits Wiliki because I have sustained the name over the years and it's by the power of God and hard work.
What I'm doing these days is to move along with the trend. You know, you can't be doing music now like it was done some 20 years ago. You have to use your brain in terms of creativity so that you can marry the two. If Bob Marley were alive, he probably won't be playing roots-rock reggae that he was playing.
What do you attribute this to? The state of the nation perhaps?
I won't say state of the nation. I disagree with those who say Nigeria is a failed nation. I don't think it's really that bad because this is a really blessed nation. Spiritually, I would say Nigeria is the Biblical land of Canaan. A land filled with milk and honey. How can the people who live in here be suffering? I want us to blame the leadership of the country and where would a good leader come from a corrupt society? The book of Isaiah said a nation gets the kind of leadership it deserves. If you say Nigeria is corrupt and you're bringing a corrupt man to lead a corrupt people, you're not going to find succour or righteousness. I think we would have to continue to do our best until God says there's going to be a change. A change in leadership, with good leadership orientation. It's a fact that leadership is not about acquiring wealth for yourself. Even those who did so in the past were buried naked when they died because naked you came, naked you would go. When you have such a mindset, you would realise that the best thing to leave behind is a legacy.
If Fashola leaves Lagos State today as the Governor, he has set a high standard in governance. And whoever wants to rule Lagos after him needs to have his head properly examined and ask himself, 'can I do better than this man has done?'
If Fashola can do so much in two years, then you don't need eight years to do a turnaround of the country's fortunes. Our leaders are those enslaving the people. They have created a huge vacuum in class. What we have today are the top and bottom classes of citizens. When a situation of no middle class arises, every other thing counts for nothing because it is only when you get to the top of the ladder before you can be recognised. This encourages corruption.
In the 90s, some of your colleagues went away in search of greener pastures but you remained here. What was your strength?
The answer is simple: because I have been through that path before. I know also that as a Nigerian artiste, you cannot go and become the king in America. Maybe for those born and bred there, but no Nigerian artiste can just go and conquer America. The only thing out there is to go and do tours, probably within African and Nigerian communities. You can only do small shows and not the big concerts in famous theatres. Moreover, if you stay too long in a white man's country, you would be coming back as a stranger. A lot of us therefore know the difference between home and abroad. We know there's no place like home. I often tell some of my colleagues, let's stay here and salvage the country together. And that's what we're doing presently.
Any hope for a turnaround?
What we presently lack are the structures including the collective administration. When the copyright is working in the country, everything would be fine. When a musician realises that each time he hears his music being played, he's making money, everything would be fine. Our pension lies in our everlasting creative works because we're not civil servants. If all that is not happening, and you see our musicians impoverished and dying in penury, it brings tears to the eyes.
I was at a function recently and the talk was about Gringory and Zebrudaya and others, how they are celebrated and worshipped as demi-gods in nearby Cameroun. Back home, their living standard is not commensurate with their creative efforts. It is so sad because these people who bring you joy and succour, should be treated like kings and queens. They deserve to be celebrated, rewarded and respected. In fact, adequate basic infrastructure should be provided for them.
Would you then say those who seek greener pastures outside the shores of this country may have lost out?
Not at all. They have not lost out because we are holding forth for them. When they come back, they would realise that we've not been fooling around. We have to stay around and ensure that the music industry gives back to us what we've put into it. You never know, my children might be the next set to come into music and if I don't do enough for the industry, they might come in and suffer the same fate as me. That definitely would mean I'm a failed father. It's better I make more sacrifices and when my children become musicians tomorrow, they would come and enjoy better fortunes than we did.
Do you really think reggae music can come back and make a bold impact?
Now, let me bring the cat out of the bag. I'm coming out with a programme called 'Double R'. It would be networked on several stations and it would be strictly reggae and Soca. Many people do not know that hip-hop is an offshoot of reggae music. If you continue your mind to the reggae of old, you would be missing the whole thing. Reggae music is a genre that has given birth to other varieties like hip-hop, dancehall, lovers' rock, the traditional roots-rock reggae and several others.
What actually led you into collective administration?
As I said earlier, there's the need to protect my creative investments. Having spent so much hard-earned money and energy, it would be suicidal to be watching a group of people reaping where they did not sow. Thus, I need to go and ensure we have a working system in place.
What qualifies one for the chairmanship of the plum MCSN. Because it is said there's so much money coming to the body?
Let me tell you, the MCSN is not a profit making organisation. The post is elective and basically as a past or present chairman, the people whose trust you enjoy would want to have you as chairman. I have a board of 16 directors who are versed in the business. Issues are discussed and modalities worked out because we don't have dictatorial tendencies here. As the chairman, I have my duties and experienced people like Mayo Ayilaran who is an expert in the business, handle the resource aspect. We have also the legal department, which deals with the technicalities of everything concerning infringement or protection of rights.
Copyright businesses are done mostly in the courts and when your rights are infringed upon you, don't cry to the government, but go to the law courts. We have not fully utilized the avenues provided by the government to seek redress. Why go on hunger strike because you can't beg for food and expect the government to look for spoon to feed you? Take those you know have infringed upon your rights to courts and stop crying naked to the government.
NCC sometime ago revoked your licences but you still operate. What's the true position of things now?
Firstly, MCSN is not operating as a collecting society. MCSN operates only as owners' assignee exclusive licencee. The difference between it and a collective society is that a collective society is approved by NCC to operate as collecting society. MCSN does not need NCC's approval because they are owners of works legally acquired over the years. When the regulation came for interested collective societies to apply, we did apply in 1984. We were there before NCC came in and when they did, we applied again. Little did we know that there were interest groups with aims of coming as a collective society. Some of these people were directors of NCC and they used their office influence to form PMRS, and denied us the licence. We went to court and after 13 years, we got judgement in our favour. That's the problem and the confusion in the industry, till tomorrow.
You cannot force the marriage of two strange bedfellows. Why not allow interested parties to operate on their own? We don't understand why NCC is not doing that, and it is holding the industry down. What stops you from liberalising the industry? After all, Nigeria is a signatory to international treaties, a signatory to the Berne and Rome Conventions, and other treaties. You cannot operate differently. China did it before and was sanctioned before they turned back.
So, you are now in court against NCC?
Yeah, we're in court because we want to know why they withdrew MCSN's licence. NCC eventually announced that there are no approved collecting societies for now. That's good news and for those who didn't know, MCSN operates differently from PMRS, which is primarily a collecting society. When we did apply for licence to operate as collecting society, it was given to us before the recent withdrawal. That, however, would not stop us form doing our initial business as owners assignee exclusive licence. We are not operating as collecting society.
How does MCSN ensure that other artistes, apart from big stars, get their dues? Secondly, how much is MCSN worth?
This year alone, we have collected from foreign distribution and distributed over N8 million and the local distribution is just beginning. Last year, it was between N14 and N15 million to members. Apart from making Tuface's case public, we have fought and won several other cases like those of Weird MC, Felix Duke and others. And it is only right that when you get such money, you give it to them in the eyes of the public. It's not about hype or showcasing Tuface.
What's your take on PMAN, considering its present situation?
What's happening in PMAN is not peculiar to it. When we were there, I know what we did but it won't be fair to compare what we did in our time to the present situation in PMAN today.
Were you happy at the state you left PMAN?
I'm not happy at the state I left PMAN. We came in and started well, but derailed toward the end.
What's the PMAN of your dream?
PMAN of my dream is one that would bark and bite. Not PMAN of noise and controversy. I want a PMAN that would stand for me and control the industry and its members. Even vulcanisers and road transport workers' unions are better organised and are under good control.
Not much has been heard from you in a long while, musically. What's been happening to Orits Wiliki?
I have not quit music because I have two albums out in the market. Several things necessitated my going into the politics of music, because you can't be working and getting nothing in return. The structures in the music industry, which include responsive collective administration, are missing. The situation is so bad that only corporate bodies are strong enough to organise concerts. People are yearning for live quality concerns and what we have are mediocre or poorly organised concerts. We needed to reorganise all that and that's partly why I have had to shut down and do some retrospect on the way forward.
What do you think about the quality of the music being played now?
I would say we have made some kind of progress and if you go to parties these days, you're going to hear only Nigerian music. Gone are the days when foreign music dominated the clubs and other social events. There is some kind of vibrancy in the music industry. However, the vibrancy does not portray the real essence of the game. What we have today is more of show and little or no business. Talking about the musical content, it's really nothing to write home about. And only very few people are dishing out inspiring, edifying and very good contents. These days, the contents are only about booty and such stuff. Looking back to the days of yore, you would see the big difference in the quality of music played now and then. In our time, we were playing music of the future. The only way out of this situation is that the quality control department of each broadcasting station do their jobs and ensure we stop hearing garbage on the airwaves. The Nigerian Broadcasting Corporation (NBC) which is the watchdog of whatever goes on air should also sit up and help put a stop to the trash on our airwaves.
In your days, you played live music but the situation now is quite different. Many artistes now mime. What's your take on this?
The present system has made our artistes lazy and they no longer do their researches. Before I write my songs, I do a lot of research. You don't have to sing or talk about pains and starvation all the time. You can talk about love in different ways and not using the four-letters word. These days, we're selling sex on our videos.
However, I would say the quality of our videos these days is better than that of the old days. I would like to advise that we channel these skills and qualities into positive things. Our videos today can challenge those produced in other parts of the world.
Your hit album 'Why dis, Why dat?' was huge and remarkably different from the latest works. What actually went wrong?
It depends on the side of the divide you are in. Some people love Why dis, Why dat' and others can die for 'Mumbala-Mumbe. 'One Drop' came after 'Why dis, Why dat' and it was followed by 'Mumbala-Mumbe.' There is more yearning for Orits Wiliki because I have sustained the name over the years and it's by the power of God and hard work.
What I'm doing these days is to move along with the trend. You know, you can't be doing music now like it was done some 20 years ago. You have to use your brain in terms of creativity so that you can marry the two. If Bob Marley were alive, he probably won't be playing roots-rock reggae that he was playing.
What do you attribute this to? The state of the nation perhaps?
I won't say state of the nation. I disagree with those who say Nigeria is a failed nation. I don't think it's really that bad because this is a really blessed nation. Spiritually, I would say Nigeria is the Biblical land of Canaan. A land filled with milk and honey. How can the people who live in here be suffering? I want us to blame the leadership of the country and where would a good leader come from a corrupt society? The book of Isaiah said a nation gets the kind of leadership it deserves. If you say Nigeria is corrupt and you're bringing a corrupt man to lead a corrupt people, you're not going to find succour or righteousness. I think we would have to continue to do our best until God says there's going to be a change. A change in leadership, with good leadership orientation. It's a fact that leadership is not about acquiring wealth for yourself. Even those who did so in the past were buried naked when they died because naked you came, naked you would go. When you have such a mindset, you would realise that the best thing to leave behind is a legacy.
If Fashola leaves Lagos State today as the Governor, he has set a high standard in governance. And whoever wants to rule Lagos after him needs to have his head properly examined and ask himself, 'can I do better than this man has done?'
If Fashola can do so much in two years, then you don't need eight years to do a turnaround of the country's fortunes. Our leaders are those enslaving the people. They have created a huge vacuum in class. What we have today are the top and bottom classes of citizens. When a situation of no middle class arises, every other thing counts for nothing because it is only when you get to the top of the ladder before you can be recognised. This encourages corruption.
In the 90s, some of your colleagues went away in search of greener pastures but you remained here. What was your strength?
The answer is simple: because I have been through that path before. I know also that as a Nigerian artiste, you cannot go and become the king in America. Maybe for those born and bred there, but no Nigerian artiste can just go and conquer America. The only thing out there is to go and do tours, probably within African and Nigerian communities. You can only do small shows and not the big concerts in famous theatres. Moreover, if you stay too long in a white man's country, you would be coming back as a stranger. A lot of us therefore know the difference between home and abroad. We know there's no place like home. I often tell some of my colleagues, let's stay here and salvage the country together. And that's what we're doing presently.
Any hope for a turnaround?
What we presently lack are the structures including the collective administration. When the copyright is working in the country, everything would be fine. When a musician realises that each time he hears his music being played, he's making money, everything would be fine. Our pension lies in our everlasting creative works because we're not civil servants. If all that is not happening, and you see our musicians impoverished and dying in penury, it brings tears to the eyes.
I was at a function recently and the talk was about Gringory and Zebrudaya and others, how they are celebrated and worshipped as demi-gods in nearby Cameroun. Back home, their living standard is not commensurate with their creative efforts. It is so sad because these people who bring you joy and succour, should be treated like kings and queens. They deserve to be celebrated, rewarded and respected. In fact, adequate basic infrastructure should be provided for them.
Would you then say those who seek greener pastures outside the shores of this country may have lost out?
Not at all. They have not lost out because we are holding forth for them. When they come back, they would realise that we've not been fooling around. We have to stay around and ensure that the music industry gives back to us what we've put into it. You never know, my children might be the next set to come into music and if I don't do enough for the industry, they might come in and suffer the same fate as me. That definitely would mean I'm a failed father. It's better I make more sacrifices and when my children become musicians tomorrow, they would come and enjoy better fortunes than we did.
Do you really think reggae music can come back and make a bold impact?
Now, let me bring the cat out of the bag. I'm coming out with a programme called 'Double R'. It would be networked on several stations and it would be strictly reggae and Soca. Many people do not know that hip-hop is an offshoot of reggae music. If you continue your mind to the reggae of old, you would be missing the whole thing. Reggae music is a genre that has given birth to other varieties like hip-hop, dancehall, lovers' rock, the traditional roots-rock reggae and several others.
What actually led you into collective administration?
As I said earlier, there's the need to protect my creative investments. Having spent so much hard-earned money and energy, it would be suicidal to be watching a group of people reaping where they did not sow. Thus, I need to go and ensure we have a working system in place.
What qualifies one for the chairmanship of the plum MCSN. Because it is said there's so much money coming to the body?
Let me tell you, the MCSN is not a profit making organisation. The post is elective and basically as a past or present chairman, the people whose trust you enjoy would want to have you as chairman. I have a board of 16 directors who are versed in the business. Issues are discussed and modalities worked out because we don't have dictatorial tendencies here. As the chairman, I have my duties and experienced people like Mayo Ayilaran who is an expert in the business, handle the resource aspect. We have also the legal department, which deals with the technicalities of everything concerning infringement or protection of rights.
Copyright businesses are done mostly in the courts and when your rights are infringed upon you, don't cry to the government, but go to the law courts. We have not fully utilized the avenues provided by the government to seek redress. Why go on hunger strike because you can't beg for food and expect the government to look for spoon to feed you? Take those you know have infringed upon your rights to courts and stop crying naked to the government.
NCC sometime ago revoked your licences but you still operate. What's the true position of things now?
Firstly, MCSN is not operating as a collecting society. MCSN operates only as owners' assignee exclusive licencee. The difference between it and a collective society is that a collective society is approved by NCC to operate as collecting society. MCSN does not need NCC's approval because they are owners of works legally acquired over the years. When the regulation came for interested collective societies to apply, we did apply in 1984. We were there before NCC came in and when they did, we applied again. Little did we know that there were interest groups with aims of coming as a collective society. Some of these people were directors of NCC and they used their office influence to form PMRS, and denied us the licence. We went to court and after 13 years, we got judgement in our favour. That's the problem and the confusion in the industry, till tomorrow.
You cannot force the marriage of two strange bedfellows. Why not allow interested parties to operate on their own? We don't understand why NCC is not doing that, and it is holding the industry down. What stops you from liberalising the industry? After all, Nigeria is a signatory to international treaties, a signatory to the Berne and Rome Conventions, and other treaties. You cannot operate differently. China did it before and was sanctioned before they turned back.
So, you are now in court against NCC?
Yeah, we're in court because we want to know why they withdrew MCSN's licence. NCC eventually announced that there are no approved collecting societies for now. That's good news and for those who didn't know, MCSN operates differently from PMRS, which is primarily a collecting society. When we did apply for licence to operate as collecting society, it was given to us before the recent withdrawal. That, however, would not stop us form doing our initial business as owners assignee exclusive licence. We are not operating as collecting society.
How does MCSN ensure that other artistes, apart from big stars, get their dues? Secondly, how much is MCSN worth?
This year alone, we have collected from foreign distribution and distributed over N8 million and the local distribution is just beginning. Last year, it was between N14 and N15 million to members. Apart from making Tuface's case public, we have fought and won several other cases like those of Weird MC, Felix Duke and others. And it is only right that when you get such money, you give it to them in the eyes of the public. It's not about hype or showcasing Tuface.
What's your take on PMAN, considering its present situation?
What's happening in PMAN is not peculiar to it. When we were there, I know what we did but it won't be fair to compare what we did in our time to the present situation in PMAN today.
Were you happy at the state you left PMAN?
I'm not happy at the state I left PMAN. We came in and started well, but derailed toward the end.
What's the PMAN of your dream?
PMAN of my dream is one that would bark and bite. Not PMAN of noise and controversy. I want a PMAN that would stand for me and control the industry and its members. Even vulcanisers and road transport workers' unions are better organised and are under good control.
Oct 18, 2009
Zafaa Award
Zafaa Award organised by Nollywood Entertainment, United Kingdom (UK), in partnership with the Nigerian Television Authority (NTA) will hold at the Odeon Greenwich and Troxy East London from 20th to 23th of this month .The award is aimed at promoting professionalism and healthy competition among artistes and other stakeholders in the industry.The highlight of the day includes a film conference and investment forum, free African movies from 6 minutes documentaries to feature films and the Award.
Eight state governors in the country have been selected to receive the prestigious Africa Film Festival and Academy Awards (ZAFAA 2009).The governors have made outstanding strides in supporting entertainment industry for sustainable growth and development. Some of the state governors selected for the awards include Lagos State governor, Alhaji Raji Fashola; Governor Ikedi Ohakim of Imo and Arc. Namadi Sambo, Kaduna state,Bayelsa governor, Timipre Sylva; Gabriel Suswam of Benue state, Ali Modi Sherrif of Borno and Emmanuel Uduaghan of Delta state.
Award categories at ZAFAA 2009 include best producer and director indigenous best African TV station in UK, best upcoming actress in UK and best child actor female among others. There will be exclusive genres of awards like the lifetime recognition which will be given to a Nigerian who has contributed in no small measures to the development of Arts and Culture in the country. Awardees will be presented with ZAFAA Trophies made by the same company that produces the Oscar and Bafta Trophies. Thee organizers are optimistic that event will in future measure up with reputable foreign awards such as Oscar and the British Bafta.
Oct 16, 2009
What is Nigerian Music?
Their lyrics have been variously described as empty, reckless and dangerous. Still I had not paid much attention to the new explosion of Nigerian music until one clear morning some months ago. I was listening to a programme on a local radio station in Abuja when, out of the clear blue airwaves, the air was fouled by the outrageous lyrics of a song by one of Nigeria's myriads of musicians.
No, it was nothing like Akon's I wanna f--k you, f--k you... which should shame the singer more than the listener. It was something worse, in my judgement: I go smoke igbo if I like oooh! The song was brazenly glamorising drug-taking in a manner which, in a properly regulated broadcast environment would have been promptly labelled NTBB - Not To Broadcast.
The song and its singer must be familiar to many Nigerians as it has continued to be played both on air and public occasions. First I wondered how a song like that can be allowed to be on sale, let alone be broadcast, within earshot of impressionable youngsters who see musicians, however talentless and bizarre, as role models worthy of imitation. Then I found myself confronted with the question: what exactly qualifies as Nigerian music? And, isn't there a danger that it may be headed the way of Nollywood, where quantity passes for quality?
I know that, as happened the last time I did a critique of Nollywood, some vested interest will almost certainly crawl out of the woodwork, completely ignore the core issues, and resort to personal insult and abuse as an alternative to logical argument. But, as Ndigbo say, you do not avoid a war simply because people get killed.
Our nation cannot achieve the change we desperately crave for if we defer to the logic of mediocrity, sold as patriotism. It cannot be true that everything indigenous is necessarily the best, merely because it is our own. Nor can we all see every issue from the same standpoint. As Lyndon Baines Johnson once said, where three people are discussing and two are nodding in agreement, only one person is thinking.
My position on any public issue that I engage in is underpinned by my belief that we must always strive to be the best that we possibly can. That is the route to greatness. We cannot continue to judge ourselves by our own standards, rather than universally acceptable standards of best practice and performance. That has to be the case in a world made smaller by the wonders of modern multi-media and instant communication.
This is more so in the business of arts and entertainment, an enterprise that has demolished the barriers of language, race, religion and cultural xenophobia. For instance while Mr Biggs can serve up a how-for-do hamburger in Ikeja, without McDonalds to compete with it in quality, music, movies, broadcasting and other forms of entertainment can neither run nor hide from a critical international audience lurking in the bullrushes of the internet and satellite.
Indeed Nigerian music and other art forms must be able to appeal to a wider international audience in order to positively impact both on our country's image and on the artiste, else he or she will remain a local champion. And such international audience shall judge us not by our Naija standards but by immutable criteria of quality and excellence. If Achebe, Soyinka, Okri and Adichie had been content to write Onitsha Market standard of literature, they would not have been acclaimed by the world as they are today.
And so I have serious issues with what passes today as Nigerian music.
Admittedly, I have what some might call an old fashioned understanding of Nigerian music that dates back to Israel Nwoba, the legendary minstrel, Joe Neze, right down to Celestine Ukwu, the philosopher, and up to Ebenezer Obey, Victor Uwaifo, Sunny Ade, Dan Maraya Jos, Fela Anikulapo Kuti, Rex Jim Lawson, et al. Theirs was music whose roots, lyrics and rhythm were anchored in the life of the Nigerian peoples. Their authentic indigeneity was beyond question because you felt it, knew where the artistes were coming from, what they were saying, and in the case of Fela, where he was going. More importantly this generation of Nigerian musicians imitated no one and aped no foreign artiste. Indeed Fela, as did some of his peers, put an indigenous stamp on his music by tagging it Afro-beat. It is heartening to know that he left a legacy in the person of his son Femi to continue the tradition.
I am also acquainted with the 60s and 70's rock and soul culture as represented by Elvis Presley and James Brown, Otis Redding and Wilson Picket, etc. Indeed their influence spread to Nigeria and produced groups whose music was almost entirely Western but accepted by Nigerian audience because the singers did not pretend that what they played was Nigerian in content or origin.
To be clear, I am not advocating a return to reprising Western pop music. On the contrary I believe that Nigerian music should have long come of age. Ghana, the home of High-life, has since re-invented its music in the form of what they now call Hip-life. The Francophone Africans have already exported their Makosa to the dance stages of America.
But I strongly disagree that what we now have as Nigerian music qualifies as Nigerian.
It is my view that the current out-pouring of travesty of American Rap, Hip-hop and R & B cannot be uncritically accepted as Nigerian music merely because it is sung by Nigerian artistes.
The most obvious of the many deserved criticisms of today's Nigerian music is that it suffers from the worst form of imitation, namely a mockery of the Nigerian attempting to be an American. Without exception they all wear drooping baggy jeans, outlandish sunglasses, even in pitch darkness, and speak with ridiculous pseudo-American accent. They repeatedly grab their crotch as the pinnacle of their stagecraft.
On their music videos, Nigerian element and ambiance are conspicuously absent. Nearly all of them are shot in South Africa or the UK. Equally they all feature half-naked, half-caste girls who appear bored and seem as if they are in it for the money, which they probably are. The only thing vaguely Nigerian in this new kind of music is that most of them are sung in pidgin English, the Wazobia lingua franca of Nigeria, but rendered in pathetic American accent that can wake up even the dead.
In terms of artistic content and merit today's Nigerian music fares no better. Their lyrics are largely banal, lacking in the poetic symmetry that can sometimes lift popular music to the height of serious art. Lyrics, we must bear in mind, is such an important element of popular music that it is categorised separately in awards. Indeed lyricists like John Lennon and Paul McCartney made more money from royalties as songwriters for their fellow Beatles than they made from actual record sales.
The one saving grace that has enabled Nigerian popular music to be accepted at least by the younger generation of Nigerians at home and abroad is that it has rhythm.
It sounds good to the ear, although quite monotonous and lacking in character and content. But the exaggerated gestures and gesticulations, the ridiculous get-ups and antics, all have more to do with whacky foreign pop culture than Nigerian.
It is sad that often Nigerian achievements and ingenuity tend to result in failure because they lack a finishing touch. The tendency to mass-produce and proliferate, simply because of a pioneering success by one talented individual, inevitably attracts a motley crew of the less suitable and ill-qualified. I recall that Tu-Face Idibia's African Queen, which won him the MOBO and many other awards, opened the floodgates for the current deluge of Nigerian music. But few of the mushrooms that followed in his wake can claim to have matched his pioneer achievement. Should African Queen, a truly Nigerian music, not have been a fore-runner for a new kind of authentic Nigeriana, rather than a barrage of bastardisation of Americana?
I know there are some who would argue that our boys and girls should rather be producing bad music than join the reprehensible band of kidnappers and armed robbers. Fair enough. But I am a firm believer that whatever we do, we should do to the best possible standard.
For a start, those who control the industry should consider the criterion of talent, not just money to be made from artistes. Scouts, agents and talent shows Like Naija Sings should be a regular means of identifying and promoting true talents, not just anybody who can hold a microphone and grab his crotch. Above all, Nigerians should learn to demand more than quantity. For too long we have made do with how-for-do!
WRITTEN BY Dr Iroh, OON, is a former Director General of FRCN(Culled from Thisday Newspaper)
No, it was nothing like Akon's I wanna f--k you, f--k you... which should shame the singer more than the listener. It was something worse, in my judgement: I go smoke igbo if I like oooh! The song was brazenly glamorising drug-taking in a manner which, in a properly regulated broadcast environment would have been promptly labelled NTBB - Not To Broadcast.
The song and its singer must be familiar to many Nigerians as it has continued to be played both on air and public occasions. First I wondered how a song like that can be allowed to be on sale, let alone be broadcast, within earshot of impressionable youngsters who see musicians, however talentless and bizarre, as role models worthy of imitation. Then I found myself confronted with the question: what exactly qualifies as Nigerian music? And, isn't there a danger that it may be headed the way of Nollywood, where quantity passes for quality?
I know that, as happened the last time I did a critique of Nollywood, some vested interest will almost certainly crawl out of the woodwork, completely ignore the core issues, and resort to personal insult and abuse as an alternative to logical argument. But, as Ndigbo say, you do not avoid a war simply because people get killed.
Our nation cannot achieve the change we desperately crave for if we defer to the logic of mediocrity, sold as patriotism. It cannot be true that everything indigenous is necessarily the best, merely because it is our own. Nor can we all see every issue from the same standpoint. As Lyndon Baines Johnson once said, where three people are discussing and two are nodding in agreement, only one person is thinking.
My position on any public issue that I engage in is underpinned by my belief that we must always strive to be the best that we possibly can. That is the route to greatness. We cannot continue to judge ourselves by our own standards, rather than universally acceptable standards of best practice and performance. That has to be the case in a world made smaller by the wonders of modern multi-media and instant communication.
This is more so in the business of arts and entertainment, an enterprise that has demolished the barriers of language, race, religion and cultural xenophobia. For instance while Mr Biggs can serve up a how-for-do hamburger in Ikeja, without McDonalds to compete with it in quality, music, movies, broadcasting and other forms of entertainment can neither run nor hide from a critical international audience lurking in the bullrushes of the internet and satellite.
Indeed Nigerian music and other art forms must be able to appeal to a wider international audience in order to positively impact both on our country's image and on the artiste, else he or she will remain a local champion. And such international audience shall judge us not by our Naija standards but by immutable criteria of quality and excellence. If Achebe, Soyinka, Okri and Adichie had been content to write Onitsha Market standard of literature, they would not have been acclaimed by the world as they are today.
And so I have serious issues with what passes today as Nigerian music.
Admittedly, I have what some might call an old fashioned understanding of Nigerian music that dates back to Israel Nwoba, the legendary minstrel, Joe Neze, right down to Celestine Ukwu, the philosopher, and up to Ebenezer Obey, Victor Uwaifo, Sunny Ade, Dan Maraya Jos, Fela Anikulapo Kuti, Rex Jim Lawson, et al. Theirs was music whose roots, lyrics and rhythm were anchored in the life of the Nigerian peoples. Their authentic indigeneity was beyond question because you felt it, knew where the artistes were coming from, what they were saying, and in the case of Fela, where he was going. More importantly this generation of Nigerian musicians imitated no one and aped no foreign artiste. Indeed Fela, as did some of his peers, put an indigenous stamp on his music by tagging it Afro-beat. It is heartening to know that he left a legacy in the person of his son Femi to continue the tradition.
I am also acquainted with the 60s and 70's rock and soul culture as represented by Elvis Presley and James Brown, Otis Redding and Wilson Picket, etc. Indeed their influence spread to Nigeria and produced groups whose music was almost entirely Western but accepted by Nigerian audience because the singers did not pretend that what they played was Nigerian in content or origin.
To be clear, I am not advocating a return to reprising Western pop music. On the contrary I believe that Nigerian music should have long come of age. Ghana, the home of High-life, has since re-invented its music in the form of what they now call Hip-life. The Francophone Africans have already exported their Makosa to the dance stages of America.
But I strongly disagree that what we now have as Nigerian music qualifies as Nigerian.
It is my view that the current out-pouring of travesty of American Rap, Hip-hop and R & B cannot be uncritically accepted as Nigerian music merely because it is sung by Nigerian artistes.
The most obvious of the many deserved criticisms of today's Nigerian music is that it suffers from the worst form of imitation, namely a mockery of the Nigerian attempting to be an American. Without exception they all wear drooping baggy jeans, outlandish sunglasses, even in pitch darkness, and speak with ridiculous pseudo-American accent. They repeatedly grab their crotch as the pinnacle of their stagecraft.
On their music videos, Nigerian element and ambiance are conspicuously absent. Nearly all of them are shot in South Africa or the UK. Equally they all feature half-naked, half-caste girls who appear bored and seem as if they are in it for the money, which they probably are. The only thing vaguely Nigerian in this new kind of music is that most of them are sung in pidgin English, the Wazobia lingua franca of Nigeria, but rendered in pathetic American accent that can wake up even the dead.
In terms of artistic content and merit today's Nigerian music fares no better. Their lyrics are largely banal, lacking in the poetic symmetry that can sometimes lift popular music to the height of serious art. Lyrics, we must bear in mind, is such an important element of popular music that it is categorised separately in awards. Indeed lyricists like John Lennon and Paul McCartney made more money from royalties as songwriters for their fellow Beatles than they made from actual record sales.
The one saving grace that has enabled Nigerian popular music to be accepted at least by the younger generation of Nigerians at home and abroad is that it has rhythm.
It sounds good to the ear, although quite monotonous and lacking in character and content. But the exaggerated gestures and gesticulations, the ridiculous get-ups and antics, all have more to do with whacky foreign pop culture than Nigerian.
It is sad that often Nigerian achievements and ingenuity tend to result in failure because they lack a finishing touch. The tendency to mass-produce and proliferate, simply because of a pioneering success by one talented individual, inevitably attracts a motley crew of the less suitable and ill-qualified. I recall that Tu-Face Idibia's African Queen, which won him the MOBO and many other awards, opened the floodgates for the current deluge of Nigerian music. But few of the mushrooms that followed in his wake can claim to have matched his pioneer achievement. Should African Queen, a truly Nigerian music, not have been a fore-runner for a new kind of authentic Nigeriana, rather than a barrage of bastardisation of Americana?
I know there are some who would argue that our boys and girls should rather be producing bad music than join the reprehensible band of kidnappers and armed robbers. Fair enough. But I am a firm believer that whatever we do, we should do to the best possible standard.
For a start, those who control the industry should consider the criterion of talent, not just money to be made from artistes. Scouts, agents and talent shows Like Naija Sings should be a regular means of identifying and promoting true talents, not just anybody who can hold a microphone and grab his crotch. Above all, Nigerians should learn to demand more than quantity. For too long we have made do with how-for-do!
WRITTEN BY Dr Iroh, OON, is a former Director General of FRCN(Culled from Thisday Newspaper)
Oct 15, 2009
Felabration
Felabration is an annual festival dedicated to the promotion of Afrobeat and African culture and to the preservation of the legend and artistry of Fela Anikulapo-Kuti. It is an annual festival commemorating the life and times of legendary Fela Anikulapo-Kuti, whose music and ideologies transcended all boundaries.The week-long event featuring various Nigerian, African and international artistes, including Street Floats, “Felamatrics”, the unique Fela Trivia Competition, Exhibitions and other exciting activities to relive and honour his memory and contributions to the evolution of African emancipation and Afro Beat genre.
Felabration 2009 tagged The Black President for coinciding with the year America elected its first black president. This name was also a tribute to Fela during and after his lifetime. As an Afro beat maestro, poet, philosopher and social critic, Fela became a hero to many.Felabration 2009 is to celebrate his ideologies and his contributions to the Nigerian society through his political ideology, social emancipation and empowerment of Nigerians and the black race as a whole.
This edition is the 12th in the annual series and it has been listed and endorsed as a tourism calendar event by the Lagos State ministry of Tourism. The festival is marketed globally and lots of artists have shown interest,apart from the likes of Rolling Dollar, at least 10 other artistes are billed to perform at the event. They include Pabio, Flow, Ajayi Brothers Gap band, Plus One, Bean Pole and Black Image.Some of the dance groups expected to also perform during the show are 24 Fever DNMT, Flavour and Audu of Krazee Kulture.The King of World Beat Otunba Sunday Ishola Adeniyi Adegeye a.k.a. King Sunny Ade, Afro Juju creator Sir Shina Peters, Weird MC and others have confirmed that they will perform at the week-long celebration.
FELABRATION 2009 aims to highlight this important aspect of his career by introducing the first symposium discussion led by eminent Nigerians from various disciplines to discuss on the topic of "The Social and Political Influence of Fela on our society".topic of "The Social and Political Influence of Fela on our society".The likes of Odia Ofeimun had delivered lectures in honour of the Late Fela Anikulapo since the event started.
Oct 8, 2009
MTN Music Festa
TO enable the artistes have enough time to prepare and deliver a memorable and exciting event, MTN Nigeria and Ruyi Communications Limited have announced a new date for the much-awaited musical extravaganza, tagged the Nigerian Music Fest.
The Lagos show, earlier scheduled for October 3 at the Main Bowl of Tafawa Balewa Square has now been shifted to November 21, 2009 while the Owerri show will now hold on November 28.
According to MTN who is the title sponsor of the event, the postponement will also allow the organisers more time to conclude logistics arrangement for a seamless event.
Nigerian Music Fest is a national celebration of the historical antecedent of music in Nigeria and therefore need to be a memorable experience for all lovers of music in Nigeria.The Nigerian Music Fest is a significant festival that will reflect the history of music in Nigeria as well as the lifestyle and values of the people spanning five decades, therefore everything necessary must be provided to give the best to the people.
The Fest is a concept of Ruyi Communications Limited, a marketing communication company, headed by the veteran broadcaster, Mr Soni Irabor. According to him, "expectations are high and several artistes, tourists and fun lovers in the country are showing interest in the event that it becomes very imperative to further fortify every arrangement to have a memorable event that will remain the talk of the town long after the event."
Ticket sales continue at all branches of Skye Bank (the official bank of the event) in Lagos, The City Mall, The Palms (Lekki, Lagos), Falomo Shopping Centre, Silver Bird Galleria, -centre Yaba and all major eateries in the host cities. The musical event is powered by MTN Nigeria in line with its commitment to enhance the beauty of life for Nigerians and also to connect to the passion of the people through music. The telecom company has been at the forefront in the promotion and sponsorship of music initiatives in Nigeria. It is using the MTN Nigerian Music Festival as a platform to connect with the passion of its numerous subscribers.
The Lagos show, earlier scheduled for October 3 at the Main Bowl of Tafawa Balewa Square has now been shifted to November 21, 2009 while the Owerri show will now hold on November 28.
According to MTN who is the title sponsor of the event, the postponement will also allow the organisers more time to conclude logistics arrangement for a seamless event.
Nigerian Music Fest is a national celebration of the historical antecedent of music in Nigeria and therefore need to be a memorable experience for all lovers of music in Nigeria.The Nigerian Music Fest is a significant festival that will reflect the history of music in Nigeria as well as the lifestyle and values of the people spanning five decades, therefore everything necessary must be provided to give the best to the people.
The Fest is a concept of Ruyi Communications Limited, a marketing communication company, headed by the veteran broadcaster, Mr Soni Irabor. According to him, "expectations are high and several artistes, tourists and fun lovers in the country are showing interest in the event that it becomes very imperative to further fortify every arrangement to have a memorable event that will remain the talk of the town long after the event."
Ticket sales continue at all branches of Skye Bank (the official bank of the event) in Lagos, The City Mall, The Palms (Lekki, Lagos), Falomo Shopping Centre, Silver Bird Galleria, -centre Yaba and all major eateries in the host cities. The musical event is powered by MTN Nigeria in line with its commitment to enhance the beauty of life for Nigerians and also to connect to the passion of the people through music. The telecom company has been at the forefront in the promotion and sponsorship of music initiatives in Nigeria. It is using the MTN Nigerian Music Festival as a platform to connect with the passion of its numerous subscribers.
Nigeria Music Video Award 2009
This year's edition will be held November 1 at the Expo Hall Eko Hotels & Suites in Lagos, Nigeria. The theme for this year's award is 'Music Edifies, .Play Responsibly'. The co-ordinator of the awards is Cally Ikpe, who is part of the production team behind Live Beats, which is till date is the longest running music programme in Nigeria. Live Beats is behind this year's NMVA's.
The nominees are:
BEST AFRO HIP HOP VIDEO
• Tuface Idibia – Go Down There.
• Djinee – Lade.• Mo hits – Ten Ten.
• Nigga Raw - Ko Gbadun.
• Weird Mc – Step Up.
BEST MAINSTREAM HIP HOP VIDEO
• Dj Jimmy Jatt – Too Much
• Alabai – Voice of God
• Kel – Too Fine. • M.I - Safe.
• Knight House- Finest.
BEST AFRO POP VIDEO
• D’banj – Mo Gbono Feli Feli.
• Eldee – Bo Si Gbangba.
• Darey - More.
• Sound Sultan – Oko Won Lode.
• Anogiri – Oyinbo.
BEST REGGAE DANCEHALL VIDEO
• Nneka – Africa.
• Frank D Nero – Cure My Craze.
• H-man- scared of love.
• Black Solo – Club on Fire.
• Porsh Kayiana – Scream
BEST GOSPEL VIDEO
• Keffi – Kokoroko.
• Lara George - Run With Me.
• Benita – Se Owe.
• Elsie – Jigidem.
• Rooftop Mcs – For My Life.
BEST R n B VIDEO
• Darey – Not The Girl.
• Faze – Am In Love.
• Inyanya – Love Truly.
• Drea – Omoge.
• G-Xploits – Your Man.
BEST HIGHLIFE MUSIC VIDEO
• Bracket – Yori Yori.
• Mc Loph – Osondi Owendi.
• Sunny Nneji – Ojoro.
• J-Martins – Cool Temper.
• Mumma Gee – African Juice.
BEST CONTEMPORARY AFRO MUSIC VIDEO
• Mumma Gee – African Juice.
• Bracket – Yori Yori.
• Amaikah – Moonlights Tales.
• Freewindz – Tolotolo.
BEST USE OF ANIMATION IN A MUSIC VIDEO
• Lara George – Run With Me.
• Daddy U - Who Be This Man.
• Holy Mallam – Devil Tinyaka.
• Holy Mallam – Somebody Say.
BEST FUJI MUSIC VIDEO
• Ayuba - Omo Yoruba. (Special Recognition)
BEST AFROBEAT MUSIC VIDEO
• Tunji Shotimerin – Story Story.
• Seun Kuti - Many Many Things.
• Kola Ogunkoya – Emayo.
BEST USE OF COSTUME
• Darey – More.
• Keffi – Kokoroko
• Amaikah – Moonlight Tale.
• Benita – We Ose.
• Mumma Gee –African Juice.
BEST USE OF CHOREOGRAPHY
• Weird Mc – Step Up.
• Freewindz – Tolotolo.
• Darey – More• Omawunmi – In The Music.
• Porsh Kayiana – Scream
BEST PRODUCER OF A MUSIC VIDEO
• Soul Muzik.
• Lone Records
• Yes Records.
• Mo Hits.
• East Syde Records.
BEST DIRECTOR
• Wudi Awa (Kokoroko – Keffi)
• Gbenga Salu ( Ten Ten – Mo Hits)
•Clarence Peters ( Oko Won Lode – Sound Sultan)
. Dj Tee ( Step Up – Weird Mc)
• Mex ( Safe – M.I)
BEST USE OF SPECIAL EFFECTS IN A MUSIC VIDEO
• M.I – Safe.
• Mo Hits – Ten Ten.
• Lara George – Run With Me.
• Elsie – Jigidem.
BEST INDIGENOUS CONCEPT
• Mumma Gee- African Juice.
• Benita – We Ose.
• Keffi – Kokoroko.
• Amaikah- Moonlight Tales.
• Ayuba – Omo Yoruba.
BEST CINEMATOGRAPHY
• Kokoroko - Keffi (Wudi Awa)
• Aimakah – Moonlight Tales. ( Brisoul)
• Sound Sultan – Oko Won Lode. ( Clarence Peters)
• Mo Gbono Feli Feli – D’banj ( Sesan)
MOST PROMISING DIRECTOR
• Gbenga Salu • Boby High
• A-Whizzle• Ak One• Brisoul
VIDEO OF THE YEAR
• M.I – Safe
• Mo Hits – Ten Ten.
• Keffi – Kokoroko.
• Darey – More.
• Mo Hits – Mo Gbono Feli Feli.
BEST NEW VIDEO
• Bean Pole – So Pe Tie.
• Jaywon – Filebe.
• Waje – Kolo.
MOST POPULAR NIGERIAN MUSIC VIDEO IN EUROPE
• King David – One Love.
• May7even – Take off my clothes.
• Tillman Ft Dolla –Puyanga.
• Tee Loye – Karmal Fire.
• Cashino – No future.
SOLE INDUCTEE INTO THE HALL OF FAME
Chief Raymond Alegho Dokpesi. (Chairman Daar Group)
The nominees are:
BEST AFRO HIP HOP VIDEO
• Tuface Idibia – Go Down There.
• Djinee – Lade.• Mo hits – Ten Ten.
• Nigga Raw - Ko Gbadun.
• Weird Mc – Step Up.
BEST MAINSTREAM HIP HOP VIDEO
• Dj Jimmy Jatt – Too Much
• Alabai – Voice of God
• Kel – Too Fine. • M.I - Safe.
• Knight House- Finest.
BEST AFRO POP VIDEO
• D’banj – Mo Gbono Feli Feli.
• Eldee – Bo Si Gbangba.
• Darey - More.
• Sound Sultan – Oko Won Lode.
• Anogiri – Oyinbo.
BEST REGGAE DANCEHALL VIDEO
• Nneka – Africa.
• Frank D Nero – Cure My Craze.
• H-man- scared of love.
• Black Solo – Club on Fire.
• Porsh Kayiana – Scream
BEST GOSPEL VIDEO
• Keffi – Kokoroko.
• Lara George - Run With Me.
• Benita – Se Owe.
• Elsie – Jigidem.
• Rooftop Mcs – For My Life.
BEST R n B VIDEO
• Darey – Not The Girl.
• Faze – Am In Love.
• Inyanya – Love Truly.
• Drea – Omoge.
• G-Xploits – Your Man.
BEST HIGHLIFE MUSIC VIDEO
• Bracket – Yori Yori.
• Mc Loph – Osondi Owendi.
• Sunny Nneji – Ojoro.
• J-Martins – Cool Temper.
• Mumma Gee – African Juice.
BEST CONTEMPORARY AFRO MUSIC VIDEO
• Mumma Gee – African Juice.
• Bracket – Yori Yori.
• Amaikah – Moonlights Tales.
• Freewindz – Tolotolo.
BEST USE OF ANIMATION IN A MUSIC VIDEO
• Lara George – Run With Me.
• Daddy U - Who Be This Man.
• Holy Mallam – Devil Tinyaka.
• Holy Mallam – Somebody Say.
BEST FUJI MUSIC VIDEO
• Ayuba - Omo Yoruba. (Special Recognition)
BEST AFROBEAT MUSIC VIDEO
• Tunji Shotimerin – Story Story.
• Seun Kuti - Many Many Things.
• Kola Ogunkoya – Emayo.
BEST USE OF COSTUME
• Darey – More.
• Keffi – Kokoroko
• Amaikah – Moonlight Tale.
• Benita – We Ose.
• Mumma Gee –African Juice.
BEST USE OF CHOREOGRAPHY
• Weird Mc – Step Up.
• Freewindz – Tolotolo.
• Darey – More• Omawunmi – In The Music.
• Porsh Kayiana – Scream
BEST PRODUCER OF A MUSIC VIDEO
• Soul Muzik.
• Lone Records
• Yes Records.
• Mo Hits.
• East Syde Records.
BEST DIRECTOR
• Wudi Awa (Kokoroko – Keffi)
• Gbenga Salu ( Ten Ten – Mo Hits)
•Clarence Peters ( Oko Won Lode – Sound Sultan)
. Dj Tee ( Step Up – Weird Mc)
• Mex ( Safe – M.I)
BEST USE OF SPECIAL EFFECTS IN A MUSIC VIDEO
• M.I – Safe.
• Mo Hits – Ten Ten.
• Lara George – Run With Me.
• Elsie – Jigidem.
BEST INDIGENOUS CONCEPT
• Mumma Gee- African Juice.
• Benita – We Ose.
• Keffi – Kokoroko.
• Amaikah- Moonlight Tales.
• Ayuba – Omo Yoruba.
BEST CINEMATOGRAPHY
• Kokoroko - Keffi (Wudi Awa)
• Aimakah – Moonlight Tales. ( Brisoul)
• Sound Sultan – Oko Won Lode. ( Clarence Peters)
• Mo Gbono Feli Feli – D’banj ( Sesan)
MOST PROMISING DIRECTOR
• Gbenga Salu • Boby High
• A-Whizzle• Ak One• Brisoul
VIDEO OF THE YEAR
• M.I – Safe
• Mo Hits – Ten Ten.
• Keffi – Kokoroko.
• Darey – More.
• Mo Hits – Mo Gbono Feli Feli.
BEST NEW VIDEO
• Bean Pole – So Pe Tie.
• Jaywon – Filebe.
• Waje – Kolo.
MOST POPULAR NIGERIAN MUSIC VIDEO IN EUROPE
• King David – One Love.
• May7even – Take off my clothes.
• Tillman Ft Dolla –Puyanga.
• Tee Loye – Karmal Fire.
• Cashino – No future.
SOLE INDUCTEE INTO THE HALL OF FAME
Chief Raymond Alegho Dokpesi. (Chairman Daar Group)
Oct 3, 2009
Fuji Music
The Fuji phenomenon
Fuji music origin was not that chaotic.The music is believed to have originated from here,itself some sort of call-to-prayer music performed by ajisari groups to wake the Islamic faithful during the Ramadan, Islam's holy month. As musical style, was popularized by Gani Irefin and the deceased Ibadan-based wure exponent, Alhaji Dauda Epo-Akara. In the early days of Nigeria's independence, several small ajisari groups thrived in the Muslim-dominated communities of Isale Eko on Lagos Island and Mushin on the mainland. Before Fuji music came to dominate the Yoruba party scene, these performers, known as ajiwere, with their main accompanying instrument - sakara drum - ruled the scene. Prominent among performers in those days were the likes of Ayinde Fatai, Ayinde Muniru Mayegun a.k.a. "General Captain," Ajadi Bashiru, Ajadi Ganiyu, Ayinla Yekini, Bashiru Abinuwaye, Sikiru Abiba, Kawu Aminu, Sikiru Onishemo, Jibowu Barrister, Saka Olayigbade and Jolly Lawal, among others. Today, in certain quarters, some variously credit Saka Olayigbade, Jolly Lawal or Jibowu Barrister (under whom Sikiru Ayinde Barrister cut his musical teeth) as creating the new genre known as Fuji. Most, however, insist that Fuji music was pioneered and popularized by none other than the man now revered as Fuji's grand lord, Dr Sikiru Ayinde Barrister. Barrister, many maintain, was the one that created Fuji music, bringing it to the mainstream and borrowing from the influences of earlier styles like Apala and Sakara to create a unique sound that has today become an influential music style in this part of Africa.
Sikiru Ayinde Barrister was among the many youths that played were music in those days before the Nigerian civil war broke out in 1967. During the war, many of these youthful singers, including Barrister, were drafted into the military. After the war, Barrister continued singing and started recording songs even while he remained in the military. Before he eventually quit the military in 1976 for full time career in music at the prompting of juju legend and now minister of God, Evangelist Ebenezer Obey Fabiyi, Barrister had emerged a prominent singer whose music lightened up party scenes. He was credited with christening the new style Fuji music. Barrister would later invite his friend and co-combatant in the army, Rasak Kolawole Ayinla, now known as General Kollington Ayinla, to also hop aboard the Fuji train. Their success and rivalry - invariably led many other youthful singers with varied styles to mount the Fuji platform. Among early players on the Fuji turf were Saura Alhaji, Fatai Adio, Waidi Akangbe, Sikiru Olawoyin, Iyanda Sawaba, Wasiu Ayinde Barrister (who eventually jettisoned the Barrister moniker for Marshal, and picked up the title, King of Fuji), Fatai Ishola Sandoka, Easy Kabaka, Ramoni Akanni, Love Azeez, Suleiman Adigun, Sakaniyau Ejire, Suleiman Adigun, Sir Shina Akanni, Rasheed Ayinde, Wasiu Ayinla, and others. While many of these names have fizzled out from the scene, a few still maintain some measure of relevance. These days, among the stars dominating the scene are Adewale Ayuba, Abass Akande Obesere, Wasiu Alabi Pasuma, Shefiu Alao, Saheed Osupa, Remi Aluko, Muri Thunder, Bayo Ojuyobo, Sule Adio Atawewe and several others.
In Lagos, Ibadan, Ijebu and other parts of Nigeria's southwest, Fuji music commands a cult-like followership. Wherever you go, it seems the preferred music for every season. At the motor parks and bus stops, on adio and television, among donning revelers at Owanbe parties, and from the cassette players of commercial Fuji music assails the ear from every comer. On every danfo and molue bus in Lagos, photographs of Fuji singers in varied postures smile at you.And at night,around the many slums in Lagos, Ibadan and other towns in this part of the country, you see several young men in little groups of three or four, a few improvised drums in their midst, all clothing themselves in the garb of Fuji stars, singing the night away in diverse tones.
Weird names,weird acts
Across the world, it is not strange for artistes to dump their birth names for some new appellations.Among Fuji singers,this practice is not just the fad,but using real names seems a major taboo.Not too many artistes go by the name their dads gave them at birth, unlike in juju music where many artistes keep to their original names. The names of Fuji singers usually follow a specific pattern.There is always a first name, a middle name (usually a Yoruba praise name), and a stage name that a mentally balanced parent would certainly refuse to christen his kid with. Such names include Obesere (Omorapala), Pasuma (Paso), Atawewe, Scorpido, Sandoka, Askari, Ojuyobo, Thunder, Tekoma, Tekoye, Merenge, and the like.
Feuding, a normal fad
On Fuji scene,no life has yet been lost to the unhealthy rivalry among artistes.Many have,however,had their psyche bruised with abusive songs from fellow songsters. Since the days of its early exponents, peace on the Fuji landscape has been as scarce a commodity as a set of teeth in a chicken's mouth. For decades, Alhaji Ayinde Barrister and his arch-rival, General Kollington Ayinla, have been at each other's throat over the former's claims that he pioneered the Fuji genre. And, apparently following in the footsteps of their role models, other Fuji artistes have taken up the gauntlet, bickering with one another over allegations of name dropping, title theft, piracy and the like. Since his coronation as fuji king,Wasiu Ayinde,now known as Kl The Ultimate, has hardly had a tranquil reign. On many occasions, his authority has been challenged by younger artistes who query his claim to kingship. Notable among such rebels is Obesere. At other times, there have been feuds between Obesere and Easy Kabaka, Obesere and Rasheed Ayinde, Saheed Osupa and Alabi Pasuma, Saheed Osupa and Muri Thunder, and several others. Recently, the purported crowning of Saheed Osupa as king of Fuji (or king of music) by Barrister raised considerable dust which continues to cause ripples on the Fuji scene.
Acting,the new pastime
In Fuji,acting has become a second calling for most artistes.Several artistes have successfully combined acting with singing. Fuji big names like Ayinde Barrister, Wasiu Ayinde, and Obesere have participated in movies at one time or the other. Even now, Fuji stars like Saheed Osupa and Pasuma have virtually added acting to their musical career.Besides acting,Saheed Osupa is also gradually emerging a major producer in the Yoruba home movie sector.
Exaggerated lifestyles
One thing you can't miss out is the flashy and exaggerated lifestyles of the practitioners.Among Fuji artistes,exhibition of ostentatious living is a consistent habit. Although not every Fuji singer is guilty of such practice, the vast majority are, and do-not give a damn. As soon as the artiste returns from a trip outside Nigeria, (it matters little if it's to Abidjan, Accra or Addis Ababa), he quickly releases an album where he narrates an exaggerated tale of his exploits abroad, regaling his fans with how white men and women have embraced his style of Fuji.He flaunts his harem of women,the houses he purportedly owns in Canada and automobiles he just brought from Europe,usually a Hummer, Lincoln Navigator or Ford Expedition.
Fuji music origin was not that chaotic.The music is believed to have originated from here,itself some sort of call-to-prayer music performed by ajisari groups to wake the Islamic faithful during the Ramadan, Islam's holy month. As musical style, was popularized by Gani Irefin and the deceased Ibadan-based wure exponent, Alhaji Dauda Epo-Akara. In the early days of Nigeria's independence, several small ajisari groups thrived in the Muslim-dominated communities of Isale Eko on Lagos Island and Mushin on the mainland. Before Fuji music came to dominate the Yoruba party scene, these performers, known as ajiwere, with their main accompanying instrument - sakara drum - ruled the scene. Prominent among performers in those days were the likes of Ayinde Fatai, Ayinde Muniru Mayegun a.k.a. "General Captain," Ajadi Bashiru, Ajadi Ganiyu, Ayinla Yekini, Bashiru Abinuwaye, Sikiru Abiba, Kawu Aminu, Sikiru Onishemo, Jibowu Barrister, Saka Olayigbade and Jolly Lawal, among others. Today, in certain quarters, some variously credit Saka Olayigbade, Jolly Lawal or Jibowu Barrister (under whom Sikiru Ayinde Barrister cut his musical teeth) as creating the new genre known as Fuji. Most, however, insist that Fuji music was pioneered and popularized by none other than the man now revered as Fuji's grand lord, Dr Sikiru Ayinde Barrister. Barrister, many maintain, was the one that created Fuji music, bringing it to the mainstream and borrowing from the influences of earlier styles like Apala and Sakara to create a unique sound that has today become an influential music style in this part of Africa.
Sikiru Ayinde Barrister was among the many youths that played were music in those days before the Nigerian civil war broke out in 1967. During the war, many of these youthful singers, including Barrister, were drafted into the military. After the war, Barrister continued singing and started recording songs even while he remained in the military. Before he eventually quit the military in 1976 for full time career in music at the prompting of juju legend and now minister of God, Evangelist Ebenezer Obey Fabiyi, Barrister had emerged a prominent singer whose music lightened up party scenes. He was credited with christening the new style Fuji music. Barrister would later invite his friend and co-combatant in the army, Rasak Kolawole Ayinla, now known as General Kollington Ayinla, to also hop aboard the Fuji train. Their success and rivalry - invariably led many other youthful singers with varied styles to mount the Fuji platform. Among early players on the Fuji turf were Saura Alhaji, Fatai Adio, Waidi Akangbe, Sikiru Olawoyin, Iyanda Sawaba, Wasiu Ayinde Barrister (who eventually jettisoned the Barrister moniker for Marshal, and picked up the title, King of Fuji), Fatai Ishola Sandoka, Easy Kabaka, Ramoni Akanni, Love Azeez, Suleiman Adigun, Sakaniyau Ejire, Suleiman Adigun, Sir Shina Akanni, Rasheed Ayinde, Wasiu Ayinla, and others. While many of these names have fizzled out from the scene, a few still maintain some measure of relevance. These days, among the stars dominating the scene are Adewale Ayuba, Abass Akande Obesere, Wasiu Alabi Pasuma, Shefiu Alao, Saheed Osupa, Remi Aluko, Muri Thunder, Bayo Ojuyobo, Sule Adio Atawewe and several others.
In Lagos, Ibadan, Ijebu and other parts of Nigeria's southwest, Fuji music commands a cult-like followership. Wherever you go, it seems the preferred music for every season. At the motor parks and bus stops, on adio and television, among donning revelers at Owanbe parties, and from the cassette players of commercial Fuji music assails the ear from every comer. On every danfo and molue bus in Lagos, photographs of Fuji singers in varied postures smile at you.And at night,around the many slums in Lagos, Ibadan and other towns in this part of the country, you see several young men in little groups of three or four, a few improvised drums in their midst, all clothing themselves in the garb of Fuji stars, singing the night away in diverse tones.
Weird names,weird acts
Across the world, it is not strange for artistes to dump their birth names for some new appellations.Among Fuji singers,this practice is not just the fad,but using real names seems a major taboo.Not too many artistes go by the name their dads gave them at birth, unlike in juju music where many artistes keep to their original names. The names of Fuji singers usually follow a specific pattern.There is always a first name, a middle name (usually a Yoruba praise name), and a stage name that a mentally balanced parent would certainly refuse to christen his kid with. Such names include Obesere (Omorapala), Pasuma (Paso), Atawewe, Scorpido, Sandoka, Askari, Ojuyobo, Thunder, Tekoma, Tekoye, Merenge, and the like.
Feuding, a normal fad
On Fuji scene,no life has yet been lost to the unhealthy rivalry among artistes.Many have,however,had their psyche bruised with abusive songs from fellow songsters. Since the days of its early exponents, peace on the Fuji landscape has been as scarce a commodity as a set of teeth in a chicken's mouth. For decades, Alhaji Ayinde Barrister and his arch-rival, General Kollington Ayinla, have been at each other's throat over the former's claims that he pioneered the Fuji genre. And, apparently following in the footsteps of their role models, other Fuji artistes have taken up the gauntlet, bickering with one another over allegations of name dropping, title theft, piracy and the like. Since his coronation as fuji king,Wasiu Ayinde,now known as Kl The Ultimate, has hardly had a tranquil reign. On many occasions, his authority has been challenged by younger artistes who query his claim to kingship. Notable among such rebels is Obesere. At other times, there have been feuds between Obesere and Easy Kabaka, Obesere and Rasheed Ayinde, Saheed Osupa and Alabi Pasuma, Saheed Osupa and Muri Thunder, and several others. Recently, the purported crowning of Saheed Osupa as king of Fuji (or king of music) by Barrister raised considerable dust which continues to cause ripples on the Fuji scene.
Acting,the new pastime
In Fuji,acting has become a second calling for most artistes.Several artistes have successfully combined acting with singing. Fuji big names like Ayinde Barrister, Wasiu Ayinde, and Obesere have participated in movies at one time or the other. Even now, Fuji stars like Saheed Osupa and Pasuma have virtually added acting to their musical career.Besides acting,Saheed Osupa is also gradually emerging a major producer in the Yoruba home movie sector.
Exaggerated lifestyles
One thing you can't miss out is the flashy and exaggerated lifestyles of the practitioners.Among Fuji artistes,exhibition of ostentatious living is a consistent habit. Although not every Fuji singer is guilty of such practice, the vast majority are, and do-not give a damn. As soon as the artiste returns from a trip outside Nigeria, (it matters little if it's to Abidjan, Accra or Addis Ababa), he quickly releases an album where he narrates an exaggerated tale of his exploits abroad, regaling his fans with how white men and women have embraced his style of Fuji.He flaunts his harem of women,the houses he purportedly owns in Canada and automobiles he just brought from Europe,usually a Hummer, Lincoln Navigator or Ford Expedition.
