EFFECTS OF PIRACY IN NIGERIA

Sunday Osanyintuyi

Piracy is the theft one’s intellectual property, particularly in the entertainment industry.

Experts have highlighted that one major snag to development of the industry is piracy.   It has ripped off many producers, artists, marketers and stakeholders. It has prevented the industry from rapid financial growth and advancing in major areas, due to low income from their intellectual material.

 

One begins to wonder who these pirates are. Where they live?  Some allege they are the marketers, others say the cartel are domicile in Alaba International market, Lagos.

 

Of late, some pastors have had their messages pirated and sold in large quantities to unknown worshippers.  Some even sensitized their members to be wary of church products they purchase. But could this be the solution?

 

December 2007, Nigerian Copyright Commission (NCC) in a statement said that the film industry loses an estimated N4, 200,000,000 annually to illegal digital duplication, on-line piracy and unauthorized rental of video works within the country.

 

A report by the Nigerian Television Authority (NTA) in August, 2008, estimated the total annual loss of the content industries (Music, Software and Video) within the nation to be well over N100, 000,000,000. This is a great loss, no doubt.

 

Also in January 2008, the Director of Filmmakers Association of Nigeria (FAN), Mrs. Pat Okolo stated that the country loses an estimate of 4 million naira to international piracy of Nigerian movies in America, Canada and Europe. Okolo also suggested that there is an urgent need to organize marketing and distribution strategy internationally to eliminate piracy and repatriate money and efforts back into the Nigerian economy.

 

It should be stated here that various efforts by the industry players against piracy are worth mentioning, but have not produced needed results.

 

Recently, artists and producers rallied at the national stadium, Lagos, for what they referred to as “HUNGER STRIKE”. Can anyone really blame them? They sought means to vent their anger. But one pertinent question that begs for an answer is: what has that “hunger strike” produced? Has the strike stopped the pirates from business? How successful has the campaign against piracy been in the last one decade? Is there hope for the industry?

An attempt to protect intellectual property is premised on accepted moral, economic considerations.  As a fundamental rule of natural justice, every man should be guaranteed the fruits of his labour. There is a socio economic principle that intellectual property protection encourages individual effort and invariably enriches the society. Since the creative industries supports a substantial part of Nigeria population will affect the economy one way or the other.

 

The revelations from Harvard Business School in 2008 about the entertainment industry put the loss of intellectual property to pirates at over 85%.

 

Piracy is so bad in Nigeria that local artists and filmmakers now refuse to release their latest albums and movies into the retail market. Reports from neighboring countries suggest that large quantities of pirated discs are being exported from Nigeria across the region.

 

The intellectual property system is the only way of protecting the creativity of authors and ensuring that the nation’s intellectual treasures and the resulting economic derivation are better secured. Lack of adequate protection over time, has resulted in direct economic loss to right owners while government is denied revenue from legitimate products. This is in addition to the obvious moral and ethical reasons against unjust enrichment, intellectual theft and fraudulent claims that characterize piracy and other intellectual property abuses.

 

There is a preponderance of opinion amongst experts that a modern and well managed copyright system could be a catalyst for economic reform. With a huge population of over 140 million people, Nigeria is likely to generate more revenue in the exploitation of its copyright based industry.

Sunday Osanyintuyi handles all communication affairs for Yemi’s Media, an anti-piracy/entertainment company

 

Is the Mo’Hits Brand Sailing or Ailing?

Wande Coal, performing with Ikechukwu, the latest Mo' Hits crew member, earlier this year (PHOTO Hycinth Iyeorosa)

Paul Uche Briggs

As Wayne Colloway puts it, “In a fast-paced world, today’s popular brand could be tomorrow’s trivia question.”

Since the time Dapo ‘D’Banj’ Oyebanjo arrived on the music scene in Nigeria, a great deal of verve, enthusiasm and brand sense has been infused into the music industry.

I have come to respect D’Banj and the Mo’Hits crew over the years for their understanding of branding. Before the Mo’Hits crew, branding was an alien concept to Nigerian music and no music practitioner could boast of attempting to build a brand. Even the world famous Kenny ‘Keke’ Ogungbe and Dayo ‘D1’ Adeneye were found wanting in this regard as they rested on their oars, assuming a status of invincibility in business – a colossal mistake which led to their demise as new brands like SoundCity and Nigezie soon took over their turf.

But I digress. People all over the world just love D’Banj. Many times, the reason for this affection eludes many. His knowledge of music or dexterity on the musical instruments may not be as exciting as Age Beeka’s or Asa’s but D’Banj represents a very touching symbol – an invitation to indulge. So when D’Banj hit the industry, people connected with his vigour, strength and dexterity on the harmonica.

On the precipice of his staggering brand equity, a strategic decision was made to extend the brand, sprinkling the genius of Don Jazzy [D’Banj’s producer and personality foil] on more artistes and so the Mo’Hits crew was born, parading a constellation of stars like Wande Coal and Dr. SID.

Every element of the Mo’Hits crew pointed inevitably to professionalism at its peak; the carefully created blend of the extroverted D’Banj and the seemingly camera shy boss Don Jazzy created the desired crossover appeal.  D’Banj’s obsession with screaming his name on every track, the catch phrases [Fi le! Don’t Touch It!] which fall effortlessly from the lips of every Nigerian and their strategic PR deployments which created an illusion of a ubiquitous brand positioning all added to creating the Brand we have all come to know as D’Banj and the Mo’Hits crew.

So what indents appear on this picture perfect story?

Asides the shabbily rendered Koko Mansion, some of the Mo’Hits crew’s strategic brand decisions have been somewhat questionable. Wande Coal who joined the family a few years ago has been a huge source of inspiration. His mellifluous voice sprinkled with a tinge of the Yoruba diction coupled with his ability to write songs which connect with a vast audience make him an undoubtedly great artiste. His album, “Mushin 2 Mo’Hits” is arguably the most sought after album in the year 2009. It is thus shocking that the crew has decided to downplay the genius of Wande Coal to allow for attention on the mother brand – D’Banj.

This is a major problem brands face when discerning when to engage in line extension. Needless to say that the step taken by Mo’Hits to build D’Banj’s brand at the expense of Wande Coal’s was not well thought out as it cost him [and by extension, The Mo’Hits crew] the MAMA awards for Best New Entry which went to MI; and that is not to say that MI is not the Mr. Incredible. But in my candid opinion, Wande Coal has a larger appeal, touching emotional cords across every sphere of life. Indeed, it might sound presumptuous, but M2M is the best album to come out of the Mo’Hits family ever.

Musical videos are nothing more than adverts for artistes and as such the adverts must be relevant and resonate with the target audience. Hence, the decision to shoot two world class videos [“O Gbonna Feli Feli” and “Kimon”] from D’Banj’s almost two year old album – “The Entertainer” at the expense of Wande Coal’s was a shoddy shot. In the era of videos like ‘Strong Thing” by Banky W, “Safe” by M.I., and “Not the Girl” by Darey Art Alade, it appears Wande’s video, “You Bad” was shot using a 1.5 mega pixel Nokia camera phone.

Understandably, based on Wande’s skill, it was necessary to avoid a situation we refer to as ‘cannibalization’ where a sub-brand’s equity and sales exceed and subsequently swallow that of the parent brand. However, due to the way Wande Coal was introduced, it would be impossible to erase the perception of D’Banj’s boy from their minds. An extra precaution of producing sub-standard videos for the talented artiste was unnecessary. This has compromised the positioning of the crew as Nigeria’s premium brand; with counterparts like Chocolate City closing the gap.

Studying the meta-branding philosophy which posits that the strength of a parent brand would rub off on a sub-brand and vice versa, it was indeed wrong to neglect Wande Coal. Akon did a great job with Konvict Music as he strategically positioned a sub-brand – T-Pain. Another example is ROC’s ability to give Kanye West some brand autonomy, independent of the mother brand – Jay-Z. The 2009 Forbes review showed that Jay-Z and Kanye West ranked 1st and 3rd in the world’s highest earning rappers for the year, grossing 35 and 25 million dollars respectively.

In the light of the foregoing and the embarrassing outcome of Koko Mansion, one is forced to question the state of Nigeria’s biggest music empire.

Paul Uche Briggs, a budding Brand Scholar cum Consultant, writes from Lagos.

Sartorial Murder on the Red Carpet

What: The Nigerian Music Video Awards (NMVAs)

When: Sunday, November 1, 2009

Where: Eko Hotel & Suites, Lagos

Who: Well! That’s the issue – Lot’s of celebs turned up; almost all badly dressed! Feast your eyes

Photos by Hyacinth Iyeorosa

The usually impeccably dressed Baba Dee decided to show up in this disheartening outfit…

Meh!

Obviously, we’re beginning with the milder offences…

Mixing brown shades with black is tricky. You seriously have to consider texture etc. Alabai didn't consider a thing, as his white bow tie proves

Sound Sultan's outfit was depressing. He's usually cuts quite the figure. This was just lazy

This is borderline...Not sure about that patch of white at Andre Blaze's navel

This is how to do it!

TV show host Deji Falope looks very grown up here. It might be because he's got a haircut...or maybe he just got it right with the clothes!!!

Inyanya keys into Geek Chic and is working it. Wish he would leave his jacket unbuttoned though

Traditional clothes were also rocked on the red carpet – although some people looked more like they were rolled into and then unfurled with the carpet…Like Black Solo here, who is being interviewed by a shiny mermaid…

...although he might have been stuck in traffic for a while...Steam anyone?

I don't know what this Diamondz girl thought she was doing, showing up in this outfit

Borderline

So much red detail, Freewindz

Mr. Kool here looks like he's wearing a dress over trousers...and is hitching up his panties

This is how to do it!

Speaking of dresses over trousers…

Kenny St. Brown's outfit defies basic dress sense

I can see the dress' underslip. Not working

The best way to wear a dress over trousers, is don’t. Leave it to people who can pull it off, like hippies.

Be Cool, Accessorize

Yeah, I know that doesn’t rhyme…anyway, any fashionista worth her (fake or otherwise) Guccis knows that accessories make or breeak the outfit.  This is probably what Da Blingz (we don’t know what her occupation is yet) was thinking when she got dressed that evening…

Take a look at that!

DA BLINGZ: Your nails are kinda long bros

DATE: Whaa!

DA BLINGZ: Honestly, the least you could have done was get extensions. Can’t you see that I have nothing natural on me and look so cool these paparazzi want my pictures?

DATE: Whaa!

DA BLINGZ: Is that all you can say?

DATE: Woman, seriously what do you want? I’m trying to look as scary as you. I have a career too, you know, in whatever it is we do. WHAA!

Let's look at the full length version...seems Halloween came late

Borderline

Daisy's cross is distracting and takes away from the outfit, which is simple and elegant. Plus she could do with more makeup and maybe lose that black resin bracelet

The (Almost) Good, The Not Better and The Polyester

This Is How To Do It!

Keep it simple. Colours don't have to match. And black tights are waaaay cute!

Two thumbs up!

We couldn’t understand when we first saw this…

But when we saw THAT…

...we got the message

Check out Mumma Gee’s ‘ I am Sasha Fierce’ Face…

Or maybe she was coming for Mona Lisa Chinda

"Ooh, li'l ole me!Why?" <simper> <simper>

Still on the subject of (potential) (fashion) victims, let’s take a look at some folk who Tried Too Hard:

When your makeup is trowelled on, then we have a problem.

Well, technically this isn't the red carpet, but this pair always try T.W.O Hard. (Note his do-rag) I suppose it's a case of the family that dresses badly together stays together

This guy's name is Igwe Gabosky. What else do you want to know?

The Colour Red

Let’s check out the close up!

Sort of reminds of of that episode on Prison Break when Schofield's foot is brutalised by Abbruzzi's shears. I know, gross! Sorry

Hey guys, Zaaki's torch is smaller!

Yoruba film actress Laide Bakare's dress is well, not so nice on her. The matching red eyebrows and that gold (?) tooth are just too Pirates of the Caribbean (especially with the greasy curly hair)

The back isn't doing girlfriend any favours either

Lara George and her hubby do red right

Compare & Contrast

What went wrong Basketmouth? Are you pulling a Sauce Kid on us with shoes and socks that have no business with your clothes? Why baby, why?

Djinee overkillin' the look onstage...showing 'em how do do it!

LC's dress, for the most part, is nice; the cut-outs though, remind me of Frank Nero's hat...

Body Lawson could teach a few lessons in style...

... we certainly hope Silverman is taking notes

Both of these could go either way:

This is Elvis Chuks

This is Jimmy Flames

Of course, we're comparing hosts - Kwame looks a'ight, Bariya, not so hot. Should probably have unbuttoned that jacket and lost the hat. I feel like she's about to burst into a Janet Jackson-meets-Britney Spears dance routine

Note how cool and suave Celestine Babayaro looks after presenting Kefee her award (What's going on with her dress though?)

 

As compared with his annoying brother Emmanuel Babayaro who is now a rapper…

I'm not sure if Emma is clutching onto Wande Coal for dear life, or if he's about to knee him in the groin

Other Magical Moments at the NMVAs

I would be angry too if I showed up at an event in a too tight jumpsuit that has turn-ups. Turn-ups!

I love this guy Jay-1. He's the only winner who showed any emotion. This must be his first - I'm certain 'cos this is the first time I'm hearing about him

Then he made a, no doubt, impassioned speech with not a couple of, obviously bitter, onlookers

I love the next two photos: (Yes, it’s still Jay-1)

Bracket thought it might rain on the red carpet

"I'm a birdie !"

This lady is just the coolest person I've seen manning a camera!

If you think you recognise Shedi Baba's jacket, you do - he loves it! And that belt -

Fashion Throwback: Hennessey Artistry, this past September

 

Grow A Moustache!

Michaela Moye

Hey guys! So it’s November, the official month when men grow moustaches for the sake of their…ahem…privates (so say the goodfellas of Askmen.com). Anyway, X2 figured this would be a fun chance to show off Iconic Moustaches. So here goes:

Daniel Day-Lewis played a psycho in 'Gangs of New York' and sported this massive 'tache (PHOTO magneticblue.com)

Here's DDL again! This time form the awesome movie 'There Will Be Blood' (PHOTO Francois Duhamel/EW.com)

Freddie Mercury, lead singer of rock band Queen, was born to sing! And to rock cool moustaches (PHOTO www.freddie-mercury.com)

Hamish Bowles, one of the most fashionable gentlemen, according to Vogue, rocks one of these. I wonder if he twirls it while contemplating on the great debate of flats versus heels (PHOTO Patrick McCullan/nymag.com)

No, Mr. Bowles hasn't gained weight. That's Bond, James Bond (not in disguise). Is Daniel Craig distancing himself from his 007 image?(PHOTO bestweekever.tv)

This mass-murderer's moustache is probably the world's most recognizable...but only just... (PHOTO www.cinemaretro.com)

...after we have good ole Charlie Chaplin! (PHOTO allposters.com)

Love this photo! Former president Obasanjo in 1989. (PHOTO Orlando Pacheco/www.country-data.com)

This image is ingrained in the collective memory of all Nigerians who know what one naira looks like (PHOTO moneypedia.de)

Frida Kahlo always exxagerated her moustache in her self-portraits (PHOTO onechick.com)

MJ tried to grow some facial hair - not very successfully (PHOTO mustacheglory.com)

Couldn't resist. (PHOTO uclaradionews.com)

Q: What would Yanni be without his thick moustache? A: Cold (Yuk yuk! Just made that up!) (PHOTO www.bong-records.com)

Of course Mario is on this list (PHOTO super-mariogemzies.com)

Too cute! (PHOTO www.pudelpointer.de)

Badamsinh Juwansinh Gujar has the longest moustache in the world - it hasn't been shaved in 22 YEARS! (PHOTO www.tribuneindia.com)

November – official month for testicular and pancreatic cancer awareness

Nigerian Music Video Awards

Which of your favourite artists stand a chance to win at the NMVAs this November?

Well, you could always make your predictions!

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 GOSPEL VIDEO
Keffi – Kokoroko
Lara George – Run With Me
Benita – Se Owe
Elsie – Jigidem
Rooftop MCs – For My Life

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

Mo' hit maker Don Jazzy, with the D'Prince (PHOTO Bayo Omisore)

BEST PRODUCER OF A MUSIC VIDEO
Soul Muzik
Lone Records
Yes Records
Mo Hits
East Syde Records

BEST MAINSTREAM HIP HOP VIDEO
Dj Jimmy Jatt – Too Much
Alabai – Voice of God
Kel – Too Fine
MI – Safe
Knight House – Finest

BEST R & B VIDEO
Darey – Not The Girl
Faze – Am In Love
Inyanya – Love Truly
Drae – Omoge
G-Xploits – Your Man

BEST DIRECTOR
Wudi Awa (Kokoroko – Kefee)
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

Sound Sultan paying tribute to the late MJ this July (Photo Hycinth Iyeorosa)

BEST AFRO POP VIDEO
D’banj – Mo Gbono Feli Feli
Eldee – Bo Si Gbangba
Darey – More
Sound Sultan – Oko Won Lode
Anogiri – Oyinbo

BEST HIGHLIFE MUSIC VIDEO
Bracket – Yori Yori
Mc Loph – Osondi Owendi
Sunny Nneji – Ojoro
J-Martins – Cool Temper
Mumma Gee – African Juice

BEST USE OF COSTUME
Darey – More
Kefee – Kokoroko
Amaikah – Moonlight Tale
Benita – We Ose
Mumma Gee – African Juice

MOST PROMISING DIRECTOR
Gbenga Salu
Boby High
A-Whizzle
Ak One
Brisoul

H-Man (Photo Abidemi Dairo)

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 CONTEMPORARY AFRO MUSIC VIDEO
Mumma Gee – African Juice
Bracket – Yori Yori
Amaikah – Moonlight Tales
Freewindz – Tolotolo

Wonder Woman, Omawumi (photo Bayo Omisore)

BEST USE OF CHOREOGRAPHY
Weird MC – Step Up
Freewindz – Tolotolo
Darey – More
Omawunmi – In The Music
Porsh Kayiana – Scream

BEST INDIGENOUS CONCEPT
Mumma Gee – African Juice
Benita – We Ose
Kefee – Kokoroko
Amaikah – Moonlight Tales
Ayuba – Omo Yoruba

BEST AFROBEAT MUSIC VIDEO
Tunji Shotimerin – Story Story
Seun Kuti – Many Many Things
Kola Ogunkoya – Emayo

BEST NEW VIDEO
Bean Pole – So Pe Tie
Jaywon – Filebe
Waje – Kolo

MOST POPULAR NIGERIAN MUSIC VIDEO IN EUROPE
King David – One Love
May7ven – Take Off My Clothes
Tillman Ft Dolla –Puyanga
Tee Loye – Karmal Fire
Cashino – No Future

BEST CINEMATOGRAPHY
Kokoroko – Kefee (Wudi Awa)
Moonlight Tales – Aimakah (Brisoul)
Oko Won Lode – Sound Sultan (Clarence Peters)
Mo Gbono Feli Feli – D’banj (Sesan)

These polls are strictly for fun! For the real votes, go to – http://livebeats.net/nmva/vote.html

And the beef… sorry, beat goes on

October 21, Chude Jideonwo wrote a review. October 26, Ohimai Amaize wrote a rejoinder. October 27, Chude responded. And now, it’s the return of Ohimai. Is it just me or is this some real Hip-Hop ish going on in this here arena. Who will get ethered when it’s all said and done?

Seriously though, this is an important debate that relates to the current state of music in this place. Was Chude’s review really malicious? Was ID Cabasa’s album really that bad? Is Nigerian music (heck, music in general these days) really as good as we make it out to be? Do we truly celebrate mediocrity or do we fail to give deserved credit when due? Are we too sensitive or personal? Or is it that we are easily blinded and influenced? Whatever the case, we clearly have a discussion on our hands. Piracy is not the only problem with our music, the music itself is a problem. How do we move it forward? That is the question we should be asking.

Anyway, this post features Ohimai’s response to Chude’s response (read post below) to Ohimai’s rejoinder (read here) to Chude’s review (read here) on ID Cabasa’s debut album, ID.Entity. Let us know your thoughts on this whole fiasco, misunderstanding or whatever you want to call it.

A Journalist’s Demonisation of Dissent

By Ohimai Godwin Amaize

Knowing Chude Jideonwo, I am not surprised that my Monday Oct. 26, 2009 rejoinder to his review of ID Cabasa’s album of Wednesday Oct. 21, 2009 both published by NEXT newspapers has elicited malicious outbursts from him in what may be termed a hastily written and venom-filled counter-rejoinder titled “Help! There is in fact a crisis!”

The truth is there is no crisis. Grudges I cannot harbour; enmity I cannot afford. Indeed, a million friends are not enough; one enemy is too much. There is so much work to be done about the future of our generation; chiefly among which is the need for us to uphold the values of truth and integrity at all times regardless of the consequences. What I simply did with my rejoinder was to call critical attention to the destructive elements which characterised his review of ID Cabasa’s new album. Whether he has the right to write a music review was never at issue.

Not known for throwing wild allegations, I unearthed hard undisputable facts about his journalistic past which cast a shadow of doubt over the true intentions of his review of the ID Cabasa album. I didn’t conjure these facts. Chude, in the reality of his own past, created them.

All that one expected from such a promising writer was for him to disprove the facts I presented with his own dose of factual journalism. But no, he simply diverts attention and re-invents the wheel in a shifting goal post of wild counter allegations – all in a bid to discredit and demonise an articulate disagreement to his review.

In this counter rejoinder, Chude’s limited understanding of an objective album review is hinged on the sole idea that the directive to write the review emanated from his boss. But does this dispel the possibility of infusing his personal bias in the review? He himself admitted in the review that he listened to the album once. How could he possibly do a critical review of a thirteen-track album he listened to just once? Is this the new standard of journalism?

What is more? The young man himself confessed that he was under pressure from his boss to turn in the album review. What can one make of an album review that was hastily written under pressure in an attempt to beat the newsroom deadline? Can it be validly deduced that the reviewer did this review in his right frame of mind?

Taking this a bit further, beyond the creative liberties that characterise media practice, what really guarantees Chude’s competence in the review of music albums? Did he go to a music school? Is he a musician or a certified scholar in popular culture studies? What is the level of his competence in the Yoruba language – the language through which ID Cabasa’s album was predominantly rendered? Is it possible for a journalist who has just a basic knowledge of a particular language to do a critical to review of an album in that language?

Let somebody remind this young journalist that his so-called ‘gormless’ critics are probably not as sheepishly naive as to understand that commending a man one moment and condemning him the other moment does not always qualify as a gesture of objectivity. History is replete with examples.

In the twist of untidy logic, he declares that he was part of a process that crowned ID Cabasa Producer of the Year 2008. Very true. And we are also aware that a popular publisher of a national daily was part of the process that crowned Babatunde Fashola of Lagos state, Governor of the Year 2008 – an award the governor later rejected and returned to its organisers.

The crux of this whole matter is too straightforward for anyone to resort to throwing diversionary tantrums and employing smear tactics capable of destroying cherished relationships and more importantly, sacrificing professional standards on the altar of destructive newspaper publications in the name of the right to hold opinions. No one is asking anyone to write favourable album or music reviews all the time. No one is asking anyone to celebrate mediocrity. What someone is simply saying is let’s do this constructively!

Nowhere in his counter rejoinder did he deny labelling ID Cabasa’s album with snide remarks like “a lazy effort”, “a muted disaster”, “a bad album” or to make matters worse, his infamous advocacy for the album to be “banished from the airwaves.” Is this tantamount to constructive or destructive criticism?

In the final analysis, journalists in an open society, are not demi-gods whose opinions cannot be subjected to constructive criticisms. A journalist who feels too big or lacks the temperament to tolerate and accept constructive criticism and then goes out of his way to demonise dissenting views is not ready for the job.

There is a prize of honour to earn in this profession. It’s more than just getting the job done. It’s about getting it done the right and honourable way. Dele Olojede did not write his way to the Pulitzer in this manner, not to cite CNN’s recognition of the literary prowess of Tolu Ogunlesi – all who are Chude’s colleagues at NEXT.

Ohimai Godwin Amaize is Creative Director at the Youth Media & Communication Initiative (YMCI), Abuja

Controversy on Steroids

(Image sourced from lostateminor.com

“Help! There is in fact a crisis!”

Chude Jideonwo

Eight years ago, my path as a journalist started in the now defunct Tempo magazine – and, every week, I would have the privilege of being in the presence of men like Kunle Ajibade and Babafemi Ojudu. These were people who had their lives, families and businesses threatened and destroyed because they insisted on doing their jobs and telling the truth fearlessly where they saw it.

As time would go on, and I would ultimately settle for the exciting beat of lifestyle journalism, my foundation in Tempo would continue to give me perspective.

When I would write critiques and reports that are unfavourable to actors, musicians and celebrities and they and their cronies would respond with venom, at first I would get offended. But then I would remember that some have lost their lives and their livelihoods in this same field – and I would remind myself that, even though my writing has an impact in its sector of influence, all of this fluff really isn’t that important in the larger, grander, scheme of things.

So it was that, when a certain Ohimai Amaize sent a rejoinder to my critique of singer/producer ID Cabasa’s album and accused me, amongst other things, of lacking integrity as well as doing the hatchet job of a rival record label, I was deeply insulted that anyone – without proof, without facts, and without logic – would attack what little integrity I have earned.

But then I remembered: the young man’s raving is really nothing compared to what happened to the journalists in TELL, TheNEWS, or at Newswatch.

So, in the final analysis, the only emotion I could muster was pity.

Enemies everywhere

Yes, we have gotten used to governors and senators trying to deflect legitimate criticism with ‘they are working for my enemies’ and ‘he is a detractor’. But seeing a member of my generation, who is supposed to know a little about the workings of a free society and a vibrant media, boldly display such narrow-mindedness in dismissing criticism as ‘the work of enemies’ and throwing the word libel about so frivolously, it gave me such sadness. Pray tell, where then is the future?

It is unfortunate that we now live in a country where the personal is the political. We have lived through a politics and media which key players have consistently thrown candour and accuracy to the winds in the search of the economic bottom line. We have become used to a society where everything is done for some narrow selfish end. And it has messed with some of our minds.

Three weeks ago, the X2 editor called me to his desk and requested that I review an album. I looked through the pack of CDs he offered me, and said Í would take ID Cabasa because “he’s a great producer; his album can’t be bad” (a direct quote).

For more than two weeks, due to work load, I was unable to find the time to do the review. But, after exactly four reminders from the editor, I pulled myself up. I picked that album up with the best of intentions – with faith in ID Cabasa’s capabilities. To cut to the chase, it turned out to be a supremely disappointing listen. But some people wouldn’t understand this process would they? No, for them, it is simple: if a review is negative, its writer must have pre-meditated hatred.

So I ask: when, some weeks ago, I wrote a review of ‘Obsession’ (starring American singer Beyonce Knowles), saying some scenes were “without redeeming quality”, was it because her rivals had bribed me with a lap dance? And when I called ‘State of Play’ a “fantastic” movie, did Russell Crowe promise to buy me an i-phone?

‘Paddy Paddy’

Unfortunately, the gormless are blithely unable to appreciate how a person who has written glowingly of Dare Art-Alade over the years (so much that a radio presenter called him a ‘Dare groupie’) could one day turn a critical eye on him even whilst remaining a fan and a friend. They cannot comprehend that a writer who has bought at least five of Timaya’s albums is still able to highlight the singer’s flaws of character and professionalism. They cannot understand how a person who was part of a process that crowned ID Cabasa Producer of the Year 2008 can candidly critique his album as “under-prepared”. Such complexity is, well, too complex for them to grasp.

Like one of my senior colleagues told me, this is what makes creativity stink in this country. Writers don’t want to be edited and artistes don’t want to be critiqued honestly so they can do better. Everyone wants ‘paddy paddy’ reviews. They want themselves and those they love to be untouchable so they can keep churning out substandard material – yet we complain that our writers aren’t snapped up by major publishers and our musicians don’t get signed by international labels.

But don’t blame them. Please don’t. It is not their fault! This is what warped and corrupt leaders have done to some of our youth. They have robbed them of any sense of perspective! Any sense of critical reasoning!

It is the reason why some think that, because my life’s work involves celebrating and supporting young people, I should also celebrate mediocrity. It is the reason why the young man would boldly say a journalist should have first considered ID Cabasa’s album sales and brand equity before writing a review!

Babatunde Jose must be turning in his grave.

In one area though, Mr. Amaize was, thankfully, spot-on. NEXT has “come to represent a new brand of excellent journalism”. And the good news is that many of us are committed to continuing in that spirit of honest, earnest and incisive journalism that knows neither fear nor favour.

Some will do it at the risk of their lives and safety – and others, like me, only at the risk of hot air from certain elements who know no better. Very thankfully, the latter is a comparatively small price to pay for getting the job done.

Danny Glover Speaks…On Africa

Danny Glover, in Lagos, earlier this year (PHOTO by Queen Martins)

Michaela Moye

Danny Glover is passionate about Africa and her people. One only has to prompt a discussion about the continent and the veteran actor-activist will not hesitate to launch into a discourse on his enthusiasms and optimism for Africa.

Born to parents who were active members of the National Association for the Advancement of Coloured People (NAACP), Glover has won the association’s Image Award five times.

His impressive resume includes serving as the current board chairman for TransAfrica Forum, a non-profit organization that focuses on conditions in Africa, Latin America and the Caribbean.

He has been an ambassador for the United Nations Development Programme (UNDP) since 1998.

In 1994 Glover took an 8-day tour of South Africa alongside fellow actors, Alfre Woodard, Angela Bassett and Delroy Lindo, urging blacks to vote in that country’s first fully democratic national elections.

In an exclusive interview with NEXT, at Ikeja, Lagos, the actor spoke about his passion for the continent:

On his passion

“The first time I came [to Nigeria] I was 25. Since then, a lot of things have happened for me. There’s a degree of optimism [and] pragmatism that comes with wisdom and age. There’s also a diminishing of the romanticism we often have about the continent. The real issues need to addressed [and] talked about.

I was in Ethiopia in 2005 at a conference sponsored by the African Union, UNICEF and the Bob & Rita Marley Foundation – a symposium that brought young people together from all over Africa to talk about how they see the continent, what the future of the continent is and the roles they need to play in the future of the continent.

On Africa’s youth

“I’m always enamored with the fact that when we talk about this extraordinary continent of 54 nations, that it’s young people who’ve always led the march for change. It was young men and women who led the march for decolonization. It’s these people who have stood for the idea that they are the architects of their own future. In that sense, I’m always enamored with the renewal of ideas, passion … commitment. Young people realize that it’s their time to really provide us with another way of looking at the world.

The issues are monumental. If you go to most countries, including in Africa, majority of their population are young below the age of 20 years old. [We] have that reality hitting us right in the face on a planet with diminishing resources. How do we begin to conserve our energy, our resources? How do we begin to protect this fragile planet, Mother Earth?

All of these things are on the table of, not only those of us that are mature, but at the forefront, apex, of young people’s ideas as well.

On service and unity

“How do we talk about service? How do we talk about a new kind of love? Dr. [Martin Luther] King always referred to the idea of agape love. How do we transform our societies into life-affirming nations and communities of love where we are able to sit at table, break bread and carry on the discourse about peace?

Peace, as King would say, is not simply the absence of conflict but the presence of justice.

Taking Charge

There's a new Choc Boss in the building (photo by Hycinth Iyereosa)

Audu Maikori, Chocolate City CEO on MI’s new position as chief Operating officer of CC Music:

“Basically, the company is restructuring. What we are trying to do is make sure we put the right people in the right positions. As you know, MI is a popular musician and has a background in business…also in terms of his passion and also having an ear that’s almost as good as mine for music. We’ve been talking about this for two and a half years so it’s not a new thing. Primarily, I believe in being able to empower people. I think it’s very important. It’s not enough to be an artist because that is transient, but also to be an executive, to be in a position to take control of their careers. Jesse [Jagz] is going to be heading production as well. We are looking for other young people to be working with, to add value.”

Ego’s Wedding!

Jayne Usen

Photos by Godwin Onyemaechi

The happy couple

Ego Ihenacho (now Ogbaro) the former lead vocalist in Lagbaja’s Colours band who left in December 2006 has tied the knots with Niyi Ogbaro who also doubles as her manager.

The wedding was held at the Archbishop Vinning Memorial Cathedral, G.R.A., Ikeja while the reception followed at Ostra Hall, Alausa, Ikeja. The wedding had in attendance a number of showbiz personalities.

Ego is presently putting finishing touches to her debut album which will be ready anytime soon.

Nollywood actress Dakore Egbuson was accompanied by Olumide Akande