Why you might be cynical about Simi’s apology to the LGBTQ+ community
The iPhone's Notes app has sure seen a lot – its latest entry, Simi's sorry.
The Notes app on the iPhone has sure seen a lot; shopping lists, brainstorms for potential songs, premeditated essays to friends during a fallout, and most notoriously the celebrity apology. Sharing a screenshot from her notes yesterday, Simi is the latest Nigerian celebrity to open up that yellow and white in-built feature in response to social media backlash.
Simi’s apology addresses her homophobic remarks made on a now-deleted episode of ‘Stoopid Sessions‘, her sporadic Youtube talk show. Joined by friends in the industry, including producer Sess, the episode saw the panel dig into what dating is like amongst millennials, which quickly turned into their expressing their offensive misconception that homosexuality is a sin. Even sharing laughs over people’s existence, in the distasteful video Simi professed that homosexuality “does not seem natural” to her, and when challenged by Sess, the only reasonable panelist on the episode, she attempted to legitimise her unsolicited take, saying: “It’s not only things that affect us that we’re uncomfortable with.”
— Simi (@SympLySimi) August 3, 2020
Months after the late March incident, Simi is now apologising to the LGBTQ+ community for “carelessly and casually” speaking on a topic that is “a matter of life and death for many” – and therefore not a talk show talking point. Admitting wrongdoing, promising she’s learning (and by inference improving?), and claiming to be humbled by the terrifying news of someone almost being killed for their sexuality, Simi delivered a convincing apology for which she was readily applauded.
However, some people just weren’t convinced. And as events unfold today, it’s becoming clearer and clearer that Simi’s apology, like all public statements from celebrity figures who are all invariably trying to maintain their status as celebrities, should be gazed upon through a critical lens.
Thanks to the character limit on Twitter and users’ preference to read posts rather than captions on Instagram, screenshotted Notes apologies shared through social media have become the prominent way in which celebrities take accountability for their publicly displeasing actions. With the direct access these media afford us, celebrities no longer have to seek out an interview in order to make their apologetic nature known; now our favourite stars are able to bear their hearts on one of the most private iPhone utilities and then share that with the world on their own terms, unadulterated by a certain publication’s agendas or your PR person’s well-trained spin. Notes apologies are intended to be personal, not a contrived public statement, but an actual heartfelt message scribbled down in an apologetic haze, however more and more people are calling bullshit on this practice, cynically viewing it just another publicity stunt to appease the masses.
Coincidence ? How convenient is it that when Simi gave her apology, Adekunle Gold is in a magazine centered around queer creatives ? pic.twitter.com/NgZCOXJSq8
— ebele. (@ebelee_) August 3, 2020
Now, from reading her statement, there is no doubt in my mind that Simi feels apologetic for the things she said, and distressed at the way in which the queer community is treated. Naturally, these are feelings she would want to share with the public, as she does so much of her life, however, multiple other motives for releasing this apology could also exist – not negating her apology but rather giving us a critical understanding of it. The same goes for other celebrity apologies. Of course, remorsefulness is palpable in most apologies, but what also exists is an evident desperation not to be ‘cancelled’, a rushed bid to ensure that the general public stays on side so that brands, collaborators, labels and the money machines don’t pull out their investment in said celebrity (or in Simi’s case, rather unusually, her husband).
Simi’s apology came just a day after her husband, Adekunle Gold was called out for attempting to appear relatable to the queer community – following a feature on queer magazine, QUAZAR just a few hours before Simi’s note – whilst living at home with an openly homophobic person. What was touted as an impressive product of introspective self-critique starts to look a little more strategic when considering the fact that Adekunle Gold is promoting his forthcoming album, ‘Afropop Vol 1.‘, recently releasing its tracklist, and could do with as little flack from the general public as possible, especially from the queer community who are famously influential in the making of stars in the US. This has all been noted with warranted scrutiny from Twitter users, and resulted in QUAZAR Magazine pulling Adekunle Gold’s campaign from their page – which Adekunle Gold stated, in his own public apology (not via the Notes app), was as a result of social media bullying.
— AG BABY (@adekunleGOLD) August 4, 2020
Claiming that Simi had no prior knowledge of his QUAZAR interview, and therefore affirming that the timing of her apology was purely coincidental, Adekunle Gold made it known that he does not support hatefulness, he does not “agree with homophobic behaviour in any sense”, and that he is “cool with every human being: “I love all my fans regardless of who they love or what they identify with.“
All but condemning his wife’s actions, Adekunle Gold making a point of denouncing queer discrimination, raises another questionable aspect Simi’s initial apology: that it focussed more on the fact that she shouldn’t have made those remarks than any acknowledgement of her homophobia, indicating, by inference, that she likely still considers the latter to be an ‘opinion’ to which she has a right. Granted, this might not be the case, but an apology that doesn’t make that clear is simply not an apology for being unapologetically homophobic. Whilst I am glad that many have found it in their hearts to forgive her, I can also relate to the many others who found it eye-rolling content and condemned it to the trash where all the other celebrity boohoos reside.
From what I have learned from my minimal years on this planet, apologies do very little for the person to whom you’re apologising, what really matters is that you are remorseful in your approach henceforth. What Simi, Adekunle Gold and other celebrities could do to actually convince us that they’re truly sorry and not scrambling to maintain their status, is step away from the Notes app, leave behind their thirst for public approval and actually work on the criticisms they’ve received, becoming the most authentic version of themselves, fans be damned!
But to paraphrase the great prophet Naira Marley, am just finking, mo kan suggest ni (or however that meme goes).
Wojumi is a bad bitch & she’s going to brag about it. Tweet her your latest cultural exploits @dewoju
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NATIVE PREMIERE: Rigo Kamp Runs Ahead Of The Pack With The Visuals For “Marathon”
Rigo Kamp’s Marathon video is an intimate Afro-juju revival that pays homage to Sir Shina Peters and stamps...
Last Friday, Rigo Kamp, a NATIVE uNder alum and one of the architects of an equal parts nostalgic and refreshing sound released his self-titled debut EP, delivering a propulsive fusion of Alte, R&B, Funk, and Soul-infused rhythms.
Featuring previously released singles “Morning Sun” and “Summer”, the six-track eponymous EP executively produced by Odunsi The Engine sees Rigo lean heavily into his element as a sonic alchemist, jumping from silky falsettos to gritty grooves without losing an ounce of cohesion, and ultimately stamping the Abuja-born, Lagos-based singer-songwriter as a mad scientist of sound.
Just last November, Apple Music named Rigo Kamp as its Up Next artist, an acknowledgment that underscored his potential and confirmed what the tastemakers and underground scene already knew. Weeks later, he delivered an exhilarating live set for Spotify Fresh Finds in Lagos, proving he’s just as compelling live as he is in the studio.
On “Marathon”, the refreshing opener to the Rigo Kamp EP, Rigo borrows the bounce and swagger of Afro-Juju legend, Sir Shina Peters’ golden-era, fusing nostalgia with re-imagination to birth a vintage performance that feels like a private party for two, where it’s just Rigo, and you.
Get an exclusive first look at the video for Marathon here:
Listen to the Rigo Kamp EP:
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Togo YEYE & VLISCO’s new collaboration is a celebration of Lomé’s thriving creative scene
Togo YEYE is a community we are building for us by
Togo YEYE, a creative duo formed by Lomé-based creative director Malaika Nabillatou and London-based photographer Delali Ayivi, is a conceptual publication that was created to empower and champion Togo’s young fashion creatives. Since its inception in 2021, Togo YEYE has released several personal projects and has also partnered with a number of brands to further its hugely imaginative aesthetic mandate. For their latest collaboration, Togo YEYE teamed up with textile printing company VLISCO to present Blossoming Beauty. Tagged as a love letter to Togo’s creative community, the campaign captures Lomé’s scenic beauty alongside VLISCO’s vibrant prints with the aim of connecting the feminine grace of nature with identity and artistry.
What does Togo YEYE mean?
Malaika Nabilatou: My name is Malaika Nabilatou, I’m the creative director of Togo YEYE. I’m Togolese and I was born and grew up in Lomé. I see myself as a West African creative director and I’m working to be the best in a few years. Togo YEYE means new Togo in Ewe, one of the most popular languages spoken in the South of Togo.
What inspired you to create Togo YEYE?
Malaika Nabilatou: We started this project, my friend Delali and I, 5 years ago. We just wanted to show that Togolese youth are also creative. Togo YEYE is a community we are building for us by us. It wasn’t just a project for Delali and I. It’s become something for the creative scene of Lomé. Lomé is like our studio.
What role does Togolese culture play in your creative process?
Maryline Bolognima: For me, Togolese culture comes first. For example, in the South, there are the people of Anero. If you come, you can go to Anero. In the North, there are the Evals, so if you come to Togo, you’ll learn a lot.
What’s the most exciting part of working as a team on projects like this?
Malaika Nabilatou: I need to tell the truth, we dreamt about this campaign before [it happened]. When VLISCO contacted us, we were like wow. I can’t really explain how thankful we are to VLISCO for trusting us. Because it’s a risk that they took by trusting us, making that campaign here with our team and honestly we are going to keep it in our hearts for the rest of our lives.
Claudia Sodogbe: For me, it is the first big contract of my life that I had with Togo YEYE. I still remember, on the last day of the shoot, I was feeling nostalgic about separating from the teams and the others. It went well in any case, and I’m very grateful to have been on this project.
What has been your proudest moment as part of Togo YEYE?
Malaika Nabilatou: I think the proudest moment I had with this campaign was when I saw the result first on the website. When I saw the story, I was like “wow, we finally made it.”
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Inside The Parties Breathing New Life Into Lagos’ Nightlife Scene
No matter who you, these parties provide a safe space to let loose without fear of objectification or...
The crowd marches along on the dancefloor, vibrating to a pulse that is both familiar and electrifying. It takes a second to identify Grammy nominee, Rema’s “Ozeba,” pouring out of the speakers and whipping the crowd into a frenzy as it takes on new life as a turbulent EDM track. The crowd growls and screams in approval of the DJ’s remix, yet another banger in a night filled with back-to-back hits. Hands in the air, sweat dripping from glistening bodies, smoke floating around the dancefloor and young people gyrating with reckless abandon, Element House provides the people with the release they deserve and they reward it with an undying loyalty to its rhythm and raves as they keep coming back.
Party culture has taken on new dimensions in Nigeria over the last two decades as a reaction to economic, social and cultural progressions. This evolution of the way we party is significant considering that Nigeria is a society that lays heavy emphasis on certain accepted standards of moral behavior, rooted in culture and tradition. But that has never once stopped a good time from happening. Millennials and older gen-z will remember the street parties and carnivals of old, usually held at the end of summer holidays or in December, where music by TuFace, Mo’Hits, Akon, Shakira, Lady Gaga and 50 Cent were the staple, among others. There were certain songs automatically expected from any DJ worth his salt otherwise it was not too far-fetched to see a DJ, with his equipment on his head, fleeing for his safety while being chased by an irate mob of partygoers.
The more things change, the more they stay the same. These carnivals and street parties might have been phased out but the idea remains the same while the power and influence of communities powering party culture in Lagos and Nigeria at large has only gotten stronger, especially with the advent of social media. The Block Party series–started in Lagos, Nigeria as the Mainland Block Party–has become the go-to event to celebrate youth culture and foster connections that cut across multiple African cities and walks of life. Today, with curated events in Ibadan, Abuja, Lagos, Accra and others, a community of partygoers is assured maximum enjoyment whenever the Block Party organisers announce an event in their city of the month. The people will always return to where their tastes are catered to, bringing along friends, family and newbies eager to bask in the atmosphere of loud music and togetherness.
In 2012, Warner Bros. Pictures released Project X–a film that follows three friends and high-school students who attempt to gain popularity by throwing a party which ends up escalating out of their control and reaching epic proportions. This idea propagated by Hollywood would go on to influence several house parties thrown in Lagos during the mid to late 2010s. The idea that with the right DJ/music playing at the right venue and with just the right crowd, then immortality was possible–a party so grand that it would be spoken about in glowing terms for years to come until it became lore. Today, house parties are more intimate and controlled, the degrees of separation between attendees reduced by a mutual friend or WhatsApp group they all have in common. From game nights to karaoke sessions to kinky sex parties, whether it’s at Balloons & Cups, a Vogue Boys pool party, or a get-together by the ‘Lagos on a Budget’ IG Community, the role house parties play in the ever evolving party culture is not insignificant, creating a pipeline that feeds into the much larger raves which weekends in Lagos are becoming synonymous with.
Whether it’s Element House today, Mainland House tomorrow, Group Therapy next weekend, WIRED or a host of other house and EDM inspired movements, partygoers are spoiled for choice when it comes to where to indulge their fundamental music tastes in a secure and controlled environment. Nothing is off the menu and a good time is the only badge of honor worth collecting. The increasing popularity of the rave movement in recent years is testament to the fact that it works for both organizers and attendees. The Covid-19 lockdowns changed the way Nigerians party; after months of being isolated from their communities and having to socialize in more intimate and private spaces, it’s no surprise that raves, with their underground nature, became the outlet of choice for several young people as soon as the world opened back up. According to Tonia, a medical doctor and frequent raver living in Lagos, her first few times at parties following the end of the lockdowns were not fun. “I was partying with caution, wearing face masks constantly and carrying hand sanitizer around. It became a much better experience subsequently when everything relaxed and soon enough, I was back enjoying the time of my life at Lagos parties.”
Unburdened from the heavy spending, bottle-popping culture that characterizes Lagos nightlife and cloaked in the embrace of judgment-free anonymity and numbers, raves have become a safe haven for a community of partygoers determined to turn up in the midst of the sheer craziness of living in this day and age. For Michael-Peace, a brand & creative assistant and frequent raver, the appeal goes beyond a need to unwind and the feelings of peace he experiences at raves. “Whether I’m listening to the DJ or just watching the crowd move to the music, it’s a very mindful experience for me,” he says.“I’m grateful to just be there and appreciative of how we can all be one community or family for that period of time.”
The appeal of the rave scene is its inclusivity and it’s a common theme for the new wave of parties exploding in Lagos and environs. No matter who you are or what you stand for, these parties provide a safe space to let loose without fear of objectification or discrimination resulting from socio-economic and political differences, misogyny and other less elegant occurrences which are part of mainstream Nigerian nightlife. This is important to Tonia who, on multiple occasions, has been prevented by bouncers from entering clubs without a male companion. “I’ll always prefer raves, they are much freer and nobody is performing here. There’s no need to show off the number of bottles you bought like there is in a club. Everyone just wants to turn the fuck up and have the time of their lives.”
For five or six hours, the disco lights, turbulent music and fellow ravers provide solace from the outside world. “Dancing the night away” is not merely a suggestion but a divine mandate from the gods of the rave. It is almost impossible to emerge after such an experience and not want to do it again. The music beckons all and sundry to come out, purge yourself of all inhibitions on the dancefloor, then return home and spread the gospel of the electronic music scene to all who might listen. In Michael-Peace’s own words: “There are people I’ve put onto raves and who loved the experience and constantly thank me for introducing them to it. Once you get hooked on it, you’ll never want to let go.”
Party culture in Nigeria continues to evolve as the new wave of parties mark their time and place in history. But the street parties and carnivals of yesteryears are not to be forgotten. The power of community continues to connect the old wave with the new wave, ensuring that actual people remain the focal point of these events, and party goers can enjoy nightlife experiences uniquely tailored to their ever changing wants and needs.
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