Revisiting the past winners of the Headies Next Rated Award

Posted on by Dennis Ade Peter

In one of the greatest scams in music history, German-French R&B duo Milli Vanilli won the Grammy award for Best New Artist in February 1990. Prior to that win, there were hushes that Rob and Fab, the acts in the group, hadn’t sung a note on their breakout album, ‘Girl You Know It’s True’, and those suspicions were confirmed later that year. While Milli Vanilli’s win was quickly rescinded, it became a big smudge on the reputation of the prestigious category.

The very next year, Mariah Carey won the award and quickly restored some validation to the category. Beyond the clear potential she possessed and her already successful eponymous debut LP, the category’s actual vindication, is that Mariah went on to build an immense and longstanding career as one of pop music’s best and greatest artists.

Gauged by fairly limited output and largely based on potential, Best New Artist awards are more or less a way for award bodies and industry insiders to place bets on artists they deem as budding superstars and game-changers. As illustrated by the two stories above, winners can turn out to be scams or the real deal—and in some cases, painfully mediocre.

In the Nigerian context, the Headies Next Rated award is the most coveted of such award categories in our growing music scene. Since debuting at the very first edition of the Hip-Hop World Awards (2006-2011) —before they rebrand to become the Headies— Next Rated has been dedicated to awarding the “most promising upcoming act in the year under review”, with a new car added to the winner’s incentive alongside the Headie plaque. While we, thankfully, haven’t seen any Milli Vanilli-level scams receive the award, it’s had its fair share of hits, controversies and misses.

With the new decade bringing a clarity that we’re knee-deep into a renaissance, it will be interesting to see how future winners of the (usually mainstream-focused) Next Rated category emerge, especially in a time when the music is becoming more diverse and as more new, independent artists are constantly springing up and proving themselves. At the same time, it also feels like a great time to recap all the previous winners and nominees from 2006 till date, taking a look at their trajectories and gauging the overall efficacy of the Next Rated category itself.

2006

Winner – Asa

(Nominees: N/A)

With two instantly striking, classic singles; “Eye Adaba” and “Fire on the Mountain”, Asa was the ideal generational talent that to kick-start the Next Rated award. Not only was her music unique, she also had the star quality needed for the long game. At the time, the singer was signed to the rising label, Question Mark Records, an arrangement which publicly and controversially fell apart later that year. Instead of disrupting her momentum, that unfortunate situation turned out to be a catalyst, as Asa signed to the French imprint, Naïve Records and released her unanimously classic debut LP in 2007. ‘Asa’ was a resounding success, confirming Asa’s entry into the rarefied territory as a game-changing superstar, a status she’s held on to ever since.

2007

Winner – Overdose

(Nominees: Naeto C, Lawal Olumo, Kage, C-Mion, Gino, Blaise)

2007 was the tipping point for the blistering renaissance Nigerian rap went on to enjoy from the late ‘00s to the early ‘10s, and many people thought the Kaduna-born rapper Overdose was going to be on the frontlines of the movement. The previous year, OD had scored a hit with “Don’t Hate”, a song which flexed his undeniable strengths as a lyricist and also showed his innate understanding of the Nigerian market he was appealing. In other words, he was the promise of a rapper who could be the best of both worlds, therefore, the appeal of him being Next Rated was glaring. Unfortunately, the hope sizzled out after a while – in 2009, OD signed with X3M, and dropped a few hits, “Drinks in a Glass” and “Alujo”, however, he never really fulfilled the potential many saw for him.

The same can be said for most of the other nominees— Blaise is a classic case of what could have been, Lawal Olumo barely made any dent, and while he put out the classic rap album, ‘Pain Plus Work’, Gino fizzled out quicker than expected. In hindsight, with what we know now, Naeto C would’ve been the best pick amongst the bunch. With his swag, endless quotables and unparalleled ability as a hitmaker, Naeto has gone on to become an urban legend, etching himself into the DNA of not just Nigerian rap music, but pop culture as a whole.

2008

Winner – Wande Coal

(Nominees: GT the Guitarman, M.I Abaga, Banky W, Cyrus da Virus)

Nobody in their right minds expected any other artist but Wande Coal to pick up the Headie and car at the 2008 edition of the hip-hop world awards. The competition was pretty formidable though; M.I and Banky went on to become two of Nigeria’s most revered, boundary-pushing artists – but at the time, Wande Coal had already proven himself as a superstar in the waiting. There were literally zero doubts about the havoc he was set to wreak.

In 2007, the legendary Mo’Hits crew (in)arguably delivered the greatest compilation project in modern afropop, ‘Curriculum Vitae’, and Wande was the undoubted star of the show. After his win, Wande effortlessly hunkered down and proved everyone right, inarguably delivering the greatest debut album in modern afropop, ‘Mushin 2 Mo’Hits’. His legend was signed and sealed; no matter how you feel about the inconsistencies since then, there’s no question that Wande Coal and his debut are a cornerstone in the ongoing global acceptance of African music.

2009

Winner – Omawumi

(Nominees: Kel, YQ, MP, Djinee)

In these parts, former contestants of music contest shows often struggle to gain much momentum in the moments following, either because they buckle under the weight of expectation or they can’t seem to translate their lessons into making music that resonates with a wide audience. Starting off with her South African folk-infused debut single, “In the Music”, Omawumi quickly began to establish herself as one of the very few anomalies, reiterating the huge singing talents she showed as the runner-up of the 2007 West African Idols. She also managed to make a statement as a newly minted artist with the potential for longevity.

Outlasting other nominees in the category —all of whom were talented and went on to have moments of their own— with an impressive catalogue that includes well-received albums and hit songs, Omawumi has acquitted her Next Rated win in convincing fashion. While she is sometimes omitted in the conversation of perennially reliable artists, Omawumi has thrived in a space that hasn’t always been kind towards women, and her continuous stream of new music is proof that she has more to offer and isn’t planning to fizzle out anytime soon.

2010

Winner – Skuki

(Nominees: General Pype, Mo’Cheddah, Jesse Jagz, D’Prince)

Of the annual group of Next Rated nominees, this particular can make you a bit ambivalent in retrospect. In a baffling turn of events, these artists seemed to peak around the period of their nominations—with D’Prince being the only commercial exception, and Jesse Jagz hit new creative heights while drifting further away from the mainstream. Delivering hits like “Banger” and “Stamina”, eventual winners Skuki were in the middle of a dominating run, but there were no signs that they were here for the long run. The fact that it took only less than two years for their fuel to run out is very telling.

2011

Winner – Wizkid

(Nominees: Ice Prince, Olamide, Tiwa Savage)

In contrast to the preceding year, this set of artists was packed with artist who definitely went on to impact afropop significantly. Ice Prince took the definition of what it means to be a commercially successful rapper in Nigeria to another level; Olamide is arguably the greatest and most prolific rapper Nigeria has ever seen; and Tiwa Savage is amongst the artists that have continued to raise the bar for excellence in Nigeria pop music. However, much like Wande Coal’s set in 2008, there was no competition where Wizkid was concerned.

After showcasing his potential with his stunning appearance on M.I’s “Fast Money Fast Cars”, Wizkid established himself as afropop’s hottest prospect since Wande Coal with two scene-stealing features on Banky W’s sophomore album, ‘The W Experience’, and solo smash singles, “Holla at your Boy”, “Tease Me” and “Don’t Dull”. Wiz’s Next Rated win was more of a pre-emptive coronation rather than a superstar prediction, with his classic, smash debut LP, ‘Superstar’ only proving this further.

2012

Winner – Davido

(Nominees: Eva Alordiah, Praiz, Chuddy K)

For the second time in a row, the Headies were given a surefire winner even though the competition wasn’t as tightly packed as the preceding year. I remember jokes about how Davido was about to add another car to his fleet while Eva Alordiah was going to continue moving around in cabs and on bikes – the rapper playfully admitted to her means of mobility in the campaign for the award. Regardless, Davido was utterly deserving of his win.

After pulling a 180 from the grass to grace story of his breakout single, “Back When”, Davido owned his privilege with “Dami Duro”, a smash banger of epic proportions. Similar to Wizkid, Davido’s Next Rated win was merely an acknowledgement of his world-beating talent and tenacity, all of which has manifested in a phenomenal career brimming with hit singles and sold-out shows across the world. He’s had one or two bumps along the way, but there’s never been a time when his greatness was in doubt.

2013

Winner – Sean Tizzle

(Nominees: Burna Boy, Dammy Krane, Seyi Shay, Phyno)

Perhaps the tightest set in terms of competition, each of the nominees for the 2013 Next Rated award had a legitimate shot at winning, it didn’t really come as a surprise when Sean Tizzle picked up the plaque and the car. At the time, Sean Tizzle had a huge hit in “Sho Lee” and subsequent singles touted him as a special talent, which he proved to some extent with his well-received debut album, ‘The Journey’. However, his win was a snub for Burna Boy, who would’ve been the ideal candidate with the gift of hindsight.

Similarly to Kanye after he lost at the Best New Artist award at the 2004 American Music Awards, Burna Boy exited the venue shortly after Tizzle’s win was announced, clearly slighted by the snub. Justifying his slight, even after already dropping a great debut album, ‘L.I.F.E’, Burna has gone on to hit undeniable levels of success, and flipped a rough patch after his sophomore album into one of the most dominant runs contemporary afropop has seen.

2014

Winner – Patoranking

(Nominees: Runtown, Yemi Alade, Skales, Orezi)

With his distinct reggae/dancehall-influenced sound, and the hit songs “Alubarika” and the Tiwa Savage-assisted “Girlie O (Remix)”, Patoranking was in pole position to poach the Next Rated award ahead of a talented set of competitors. While all the nominated artists are still active to varying but notable degrees of success, Patoranking’s consistency in quality and continued evolution as a bona fide part of afropop’s global push have helped in proving his potential.

2015

Winner – Reekado Banks

(Nominees: Lil Kesh, Kiss Daniel, Korede Bello, Cynthia Morgan)

Arguably the most infamous moment in the history of the award show, Reekado Banks winning Next Rated over Lil Kesh sparked an embittered exchange between both artists’ label bosses, Don Jazzy and Olamide. Going into the ceremony, most people fancied Lil Kesh as the runaway winner of the category, since – to paraphrase Olamide– every single was a hit, back to back to back. It wasn’t that Reekado wasn’t a strong contender, it’s that Lil Kesh’s numerous hits helped him reign over the year in review.

But for an award that also places a premium on potential, the Headies seem to have been vindicated in retrospect. While Reekado is still a pretty reliable hit maker, Kesh today is not as notable on the scene as he once was. From an objective standpoint, however, Kiss (now Kizz) Daniel would have been the best pick, as not only did he release a widely acclaimed debut—something that eluded his other contenders—Kizz has remained at the cutting edge of afropop ever since, sidestepping the dreaded sophomore slump. Even though he’s quite problematic, he has kept the hits flowing.

2016

Winner – Mr Eazi

(Nominees: Tekno, Ycee, Humblesmith, Aramide)

There’s a possibility that Mr Eazi would have had stronger competition for his Next Rated run, had Tekno not (somewhat wrongly) rescinded his nomination. The remaining trio of contenders—Ycee, Humblesmith and Aramide—had had breakout years as well and have continued to press on with their respective careers, but there’s no denying that Mr Eazi was a dominant force in a fairytale year that saw him greatly impact all of afropop.

Beyond that run, the satisfying part of his Next Rated win is the astronomical heights Eazi has reached since then. The singer has released two solid projects, toured around the world by himself and as a supporting act for Urbano mainstay, J Balvin, and he’s performed at Coachella. In addition, he’s also bolstering his CV as a visionary for the growth of African music, through the incubator/label services arm he initiated, emPawa Africa. He might not yet inspire the highest level of reverence as his slightly more notable senior colleagues, but Mr Eazi is a prime example of the seal of approval an award like Next Rated hopes to inspire.

2018

Winner – Mayorkun

(Nominees: Maleek Berry, Johnny Drille, Dice Ailes, Zoro)

Similar to his label boss in 2012, there was really no getting in Mayorkun’s way when he confidently and comfortably won the Next Rated award in 2018. Although he was in the midst of talented and promising prospects, Mayorkun had already made it to stardom with a string of big singles and it didn’t seem like he was going to stop. He eclipsed any doubts with his successful debut album, ‘The Mayor of Lagos’, and he’s only vaulted further into superstar territory with multiple headlining concerts—including his sold-out, Indigo O2 arena show—and hit singles, like this year’s biggest song till date, “Geng”.

2019

Winner – Rema

(Nominees: Fireboy DML, Joeboy, Zlatan, Lyta, Victor AD)

Sometimes, you just know you’re witnessing a special artist right from the moment they appear. Immediately Rema dropped his debut eponymous EP, it was undeniable that he is as special as they come. The diversity and stunning quality of his two subsequent EPs, ‘Freestyle EP’ and ‘Bad Commando’, only cemented that idea and it was more than enough for the Benin-born artist to race his way to the Next Rated award of the last Headies.

To be fair, the nominee list was packed with worthy contenders who had proven themselves and have continued to build towards distinguished careers. Fireboy’s “Jealous” and “King” were two of the biggest and best songs of last year, and his impressive, hugely successful debut album, ‘Laughter, Tears & Goosebumps’ only projects greater things for the YBNL singer. Joeboy’s “Baby” placed the singer in the canon of potential long term hitmakers, a reputation he’s steadily fulfilling with subsequent singles and features.

Less than a year later, and as we’re currently living our lives against the backdrop of a pandemic and a bunch of other shitty events, it will take more time to justify Rema’s win. However, as this hinges on Rema full transformation from special to transcendental—he’s clearly well on his way—that bet already looks like it’s done and delivered.

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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter

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Songs of the Day: New Music from Kranium X Tiwa Savage, Tay Iwar, Juls, Nasty C & more

Posted on by Dennis Ade Peter

With most of the world self-isolating to flatten the COVID-19 curve, music is one of the things that has kept our spirits up and sustained our sense of community. Artists from all around the world have continued to put out new music, and their relatable subject matters help us process past hurts, dream of a better future, whilst also just enjoying the present moment. It’s completely understandable if this week, you haven’t really been keeping up with new music releases, given the current state of affairs around the whole world.

So to help out a bit, we’ve compiled a list of the new songs you should listen to today. Following our mid-week selections that included drops from Prettyboy D-O, Nana Fofie, Juls and Sango, Efya and more, today’s curation includes Nasty C’s latest single, a collaboration between Kranium and Tiwa Savage, new singles from DJ/Producers, Sun El Musician and Juls, and much more. Enjoy.

Kranium x Tiwa Savage – “Gal Policy (Remix)”

Despite the tense banter that followed the flawless NS10v10 victories by Nigerian superstars, Wizkid and Burna Boy, over their dancehall contemporaries, Vybz Kartel and Popcaan, Afropop and Caribbean pop have a strong relationship which has been shown by the steady stream of collaborations between the genres’ respective artists. After featuring Burna on “Hotel” last year, dancehall star, Kranium has just tapped the services of Tiwa Savage for his latest drop, “Gal Policy (Remix)”.

Originally released earlier this year, “Gal Policy” finds Kranium in his trademark lothario bag, as he explains the peaceful dynamic that exists between him and the women he engages with. On the remix, Tiwa Savage plays the love interest who’s a bit slighted by his infidelity, but ultimately knows he remains committed to only her. The remix adds a layer of complexity while also showing off the chemistry between the two artists, over a catchy mid-tempo beat.

Nasty C – “Eazy”

Nasty C SZN is here. The South African rapper has been prepping the release of his third studio album, ‘Zulu Man with some Power’, and the last couple of weeks have seen increased activity that suggests the project will be here real soon. A week after dropping the socially concerned, T.I-assisted cut, “They Don’t”, Nasty C is back with “Eazy”, a new single where reverses back into his trademark braggadocio.

Adopting a smooth sing-song flow on the first verse and a sturdy cadence on the second verse, the rapper flexes his wealth and stunts on his adversaries, referencing his rise from the bottom as justification for his unhinged exuberance. “I see you change the way you feel about me when the lights hit my jewellery/It’s a lot of bad things here, I’m right where I should be”, he boasts over the psychedelic riffs and stomping bass.

Sun El Musician x Msaki – “Ubomi Abumanga”

South African DJ/Producer Sun El Musician broke out with his 2017 smash hit, “Akanmali”, featuring Samthing Soweto, and he’s worked his way into one of the premier purveyors of African house music with subsequent releases. For his second single of the year, “Ubomi Abumanga”, the producer puts together a dreamy banger that will either calm you down or get your body swaying, depending on your disposition. Gliding over Sun El’s thumping percussion, layered piano riffs and horn blasts, South African singer, Msaki adds an ethereal and captivating touch with her melody swells and playful vocal runs.

Oumou Sangaré – “Djoukourou (Acoustic)”

Later this month, Malian singer, Oumou Sangare will release ‘Acoustic’, an unplugged album with acoustic reworks of her critically acclaimed 2017 LP, ‘Mogoya’. ‘Acoustic’ will strip down the hi-definition tools which accompanied the traditional sounds of ‘Mogoya’, and it will mostly focus on Oumou’s voice with sparse instrumental embellishments. Ahead of the album’s release, the singer has just shared lead single, “Djoukourou (Acoustic)”, an energetic song which places Oumou’s energetic and bright voice alongside spritely plucked, folk strings.

Juls x Randy Valentine – “Wata”

While he’s established himself as the go-to guy of the neo-highlife subgenre, a lot of Juls’ music is a constant exercise in finding new ways to deconstruct and reinvent his chosen sound. “Wata”, his latest release continues to chart his experimental yet identifiable path, as he combines growling bass guitar riffs, afro-folk percussion and horn interjections to create the skeletal groove which pushes the song forward. Vocals on “Wata” are contributed by UK-based reggae singer, Randy Valentine, who delivers a message of positivity through his uplifting lyrics and his vibrant vocal performance.

Young T & Bugsey x DaBaby – “Don’t Rush (Remix)”

At the beginning of our social distancing woes, Young T & Bugsey’s “Don’t Rush” became a worldwide phenomenon following one of the most delightful TikTok challenges in recent memory. Looking to extend the song’s impact, the UK duo have just dropped the second remix to the smash hit. Te first one featured Urbano artist, Rauw Alejandro, and this time around, they’ve enlisted DaBaby, who’s song is currently number 1 on the charts. With the same beat and unchanged verses from Young T and Bugsey, DaBaby’s opening verse, where he employs his trademark supersonic flow, is the only new thing on the remix, however, it won’t be surprising to see the remix further the song’s success on the American charts considering.

Tay Iwar x Zilo – “Play Nice – Stuck Inside”

Earlier this week, Tay Iwar celebrated his birthday with the release of a new loosie single, “Play Nice – Stuck Inside”, a song that mines his ability to sing of the emotional complexities of falling in love. Joined by British R&B singer Zilo, the pair play a dysfunctional couple who find it difficult to be totally vulnerable with each other due to their egos and other personal issues. The song is divided into two halves, allowing us an unfiltered look into both sides of the relationship, with Tay and Zilo matching their evocative writing with affecting vocal deliveries over the exotic mix of Spanish guitars and reverb-stained 808 bass.

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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter

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Life in Quarantine: Here’s how Prettyboy D-O is spending his days in LA

Posted on by Tami Makinde

Life In Quarantine Is A New Bi-Weekly Column We Will Be Running To Give African Artists who are Quarantining In Different Countries From Their Home Country The chance To Speak about Their Creative Processes During The Current Global Pandemic. We will Take A Look Into Their Daily Routines And Find Out How They Are coping Being Away From Their Family And Friends With No End In Sight quite Yet. This week, we catch up with Prettyboy D-O as he quarantines in Los Angeles with his team.

It can be hard to keep up with the rapid pace of events unfolding during the lockdown, especially when you consider that we’re in the middle of an economic crisis and a racial war. One thing about this is that nobody is exempt from the effects of the pandemic, and where we would usually have events and live shows to provide some much-needed comfort from the ills of society, the ‘rona has changed life as we know it. Big events and crowded spaces are a prime spot for the virus to spread, and as such, artists are navigating a tough period, where they’re losing a revenue stream from not being able to perform live shows.

Prettyboy D-O is one of such artists who are affected by the ongoing social distancing requirements and he’s not very happy about how it’s affected his connection to his fans. D-O has been teasing a new project ‘Wildfire’ for a while now, and he went to Los Angeles, California to solidify a distribution deal to aid the reach of his music. Fortunately and unfortunately, he got stuck out there.

As he patiently waits for the borders to open so he can return home to his family and friends, D-O is spending his time in the States wisely. He’s still hard at work regardless and even tells me that he’s been able to record three videos since arriving in the country and foster some cross-border collaborations that his cult-like following would love.

 

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On how he got stuck in LA

I came here because I got a distribution deal and needed to finalise it. I signed this back in April, but we haven’t been able to make it back home because there are no international flights running at the moment. I’m just making the most of my time in LA, I was able to connect with artists here and get to collaborating with them as well. I’m dropping a new project soon, and I’m able to do more stuff than I would have in Lagos, so it’s cool.

On how he’s finding the quarantine

The quarantine period has been confusing and long. I would say like creative wise, I have been good because there is time and space to create and think of new ideas. In terms of life, in general, to me, it’s kind of confusing because we don’t even know when they are opening the borders yet.

Also with shows being cancelled, that has confused me a bit more because it hurts that side of the business that brought in money. But I would say, in a way, it’s been good for me in the sense that I’m in a country where I have a lot of resources at my disposal, and they’re easier and cheaper to get. In Nigeria, it can be a bit more difficult; the videos require good locations, that you will be undisturbed by police, and you have to find the right equipment to make it work. But out here, I’ve probably shot like 3 videos and I didn’t even spend that much ‘bread’ so the ease of doing stuff has been good.

One thing he’s learnt during lockdown

I don’t know how much people know about this but in 1992, the first-ever big riot that black people did for Rodney King was in LA – I didn’t know of this. I heard of Rodney King before during my time at university in the States but I didn’t know the full story. He was one of the first high-profile police brutality cases but I didn’t know the full story till George Floyd passed and my people out here were telling me about the deep history of the riots here in LA. If you go to South Central LA, it’s still fucked up.

At the same time that was happening, back at home, there was a girl, Tina who got killed by police and another young girl, Uwa that got assaulted and killed. In a way, I felt like I was between two different worlds because I am in LA and there’s lots of protests and anger on the streets but I’m Nigerian and all my friends and family are back home, so I’m plugged into the news there too. 

I mean I know I’m not a politician but if I had my way, I wish I could be more like Fela. Like how he was singing about the injustices in our country which I really admired. I mean there’s “Chop Elbow” but I had to heavily censor that before it’s release and take out the direct names of our leaders I had called out. Fela was so brave with how he fought for his county. My father was a military man, so I like a lot of soldiers like Sankara and I always revisit documentaries on them to know how to better fight for my country.

In Nigeria, I feel like my personal remedy to police brutality is that the policeman must pay with their life, and I know people might not like that but that’s my own remedy. So when the protest broke out here, I had to join in because people were being extremely fearless. I wanted to see how these people can just wake up and start fighting their governments and actually get results. Nigerians, us we can’t. These people walk for miles and hours, sometimes they walk through the whole of the city and if you’ve been to LA, you know that is huge. They march and protest from morning to nighttime and come back the next day for even more. I followed the march for a day and I was just amazed by them. For the first few days, we were watching it on TV and we were like wait why are we watching it on tv when we can be out there. 

But for you to fight Nigeria, you really need to come out. This is how I feel about Nigerian women. Nigerian women have this power in their voices, they come out in groups for each other and speak out against the injustices women face. Women are brave with their fight and that is the same fight me I want to fight.

On why he decided to drop new music now

I actually made “Odeshi” last year. A lot of the songs on my project coming out this year, I recorded them last year. “Odeshi” was not meant to drop when it did. It was originally going to drop much earlier in the year but we had some delays. The whole project has been ready since January but we couldn’t go ahead because of the distribution deal. I signed my distribution deal in April and we decided to drop in May. But in May, we couldn’t drop because of the pandemic.

Then beginning of May, my team and I knew “Odeshi” was going to drop on the 5th of June and then the project on the 19th. We knew and we had to wait. A week before the song dropped that’s when the whole world entered turmoil literally and I couldn’t move the date because if I did we would have to wait another month for the drop so I was kind of stuck. I only started promoting the single properly like two or three days to the drop, just because of how strange and angry the times were.

On what fans can expect from the upcoming project

‘Wildfire’ is a very metaphorical project. It’s very prophetic and spiritual but not in the sense you may think. It’s the storm before my debut album [‘Pretty World’ is out in December]. You know how in the book of Revelations, a wildfire just comes and cleanses the earth and the new world is born? This wildfire project is cleansing the streets for ‘Pretty World’ (metaphorically) so the first pre-released single, “Odeshi”, is literally like I am possessed and taken over by a power.

“Odeshi” is the possession; Odeshi is an Igbo word, which means bulletproof. My mum is from Imo state and when we were younger, we used to watch a lot of Nollywood films and there was a movie called Isakaba. It’s one of the most memorable films from my childhood, and I remember in the film, they used to say odeshi a lot so I recorded the song based on how I am protected, and anyone sending bad vibes my way is sending it back to themselves. Even from the visualiser and the artwork, you can see the idea behind it, I am literally consumed by fire. 

One thing he loves, likes and hates about lockdown.

I love that there’s less stress here in life, working and making music. I love the environment because out here, almost everyone is an entertainer or at least in the industry. I like that the weather is nice, and there’s always light and weed is legal here. I hate that I can’t see my family and loved ones, I miss my house in Lagos and I really miss performing as well.

Featured image credits/Instagram: obidinzeribe

Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_

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Dissecting the role song lyrics play in enabling misogyny

Posted on by Dennis Ade Peter

The popular saying goes, “art imitates life”, and regardless of their varying levels of self-awareness, artists tend to reflect who they are in their music. When we pay enough attention, we gain some insight into their personal traits – as well as the experiences and biases which shaped their worldview – through their choice of content and lyrical execution. By extension, the songs that dominate our headphones, radio stations and club dancefloors are a reflection of communal values, since they imitate society’s acceptable standard of living.

In comparison to this time last decade, Nigerian music has become far more heterogeneous in musical style and thematic range, which has left room for the reflection of increasingly liberal ideals of a younger generation. Regardless, the music is still a bit reliant on the acceptance of a wide audience, which is why a significant portion of what we’re getting is geared towards appealing more viscerally. To meet these expectations, artists tap into what they think audiences can easily identify with and often pull from society’s values to inform what they’re singing about.

Given that the music we get is mainly dominated by male artists and caters to dancefloors and communal events, it’s no surprise that many songs by Nigerian artists revolve around love and lust. Some are occasionally profound, but more often than not, settle into the intersection between banal and playful hedonism. In this indulgent dynamic, which is aided by our society’s deeply patriarchal value system, it has become the norm for women to serve as “objects” of desire and affection, more or less reinforcing the unideal ways men have been conditioned to view and communicate with women.

The last few weeks have brought about a frustrating and long-overdue conversation about gender-based violence targeted at women everywhere from workplaces to places of worship. The unrelenting stream of reports and accusations has sparked outrage, heightened awareness, and has only emphasised the need for everyone to unlearn and relearn not just biases, but also behaviours. The latter part, especially, has increased the stakes in terms of collective reckoning, pushing more people into re-evaluating our moral fabric, which is where music—as an imitator of society—comes in.

As a product of a casually sexist and misogynist society, Nigerian music can be very sexist, misogynistic and casually harmful towards women. There’s a really long line of examples, but in the thick of these ongoing conversations, an easy one to exhume is Kizz Daniel’s 2017 smash hit, “Yeba”. Weeks after release, the otherwise phenomenally crafted song became infamous for a conversational adlib in which a lady admonishes a guy for “touching” her in the club. Even though the problematic nature of that exchange is clear to anyone with a basic understanding of consent and personal space, there was a counter-response which deemed those criticisms as overbearing—a strong reflection of our club culture, aided by the music that serves as its soundtrack.

I’m not an avid partygoer, but from my few experiences and by personal accounts from friends, Nigerian clubs are an avenue where the agency of women is casually disrespected in the name of fun. In a damning extension of “tapping current”—a foolish conduct which exists everywhere from commercial buses and bank queues – girls and women are touched and groped without any regard for boundaries. While it is important to note that dancefloors are an appropriate space for people of any gender  bask in carnal euphoria, it doesn’t absolve you of you the basic duty to respect women and their agency, which is something Nigerian pop music needs to reflect going forward.

In his attempted PR save, Kizz Daniel explained that the adlib on “Yeba” is meant to be a cautionary tale of “no means no”, when, ideally, a woman doesn’t have to say no after being harassed. Zooming out a bit, there’s something of a dissonance to a song like “Yeba”, because it’s a great song and it’s also problematic, but since the former trait will likely overshadow the latter, women often have to find a way to accommodate/enjoy it despite the unwholesome parts

Having to balance that a song is problematic but also kinda fire presents a conundrum that’s intensified by how these issues have been normalised. So much so, that a significant portion of listeners won’t even take offence or realise that some things being said are offensive to them. In much the same way we are urging each other to know better and do better, it’s time for artists to start taking greater care to make sure that their writing doesn’t project or promote problematic ideals, especially those relating with sexual harassment and violence of any kind.

Of course, a primary aim of music is to entertain while ensuring the artist’s autonomy isn’t tampered with, however, artists need to start phasing out the standards that enable them to maintain sexist and casually problematic tropes. While I’m an advocate for not looking to celebrities to say and do the right things, there’s no grey area when it comes to sexual violence, and music should constantly reflect that. It doesn’t mean that the music should be tame or beige, it just means that they should be more respectful of women’s agency when exploring sexual tension, both overtly and covertly.

Opening his verse on Show Dem Camp’s classic song, “Feel Alright”, Ladipoe raps, “I got an itch and baby you gotta scratch that/you and that palm wine, you know I gotta tap that/maybe this one time you can put it in my jeans, though it’s something you never tried but Henny is a bastard”. Rapping in his trademark confident cadence, you can almost miss the fact that he’s basically describing an encounter that doesn’t take the agency of his interest into. “The thing with writing is, with a switch of a word or two, the interpretation of a line changes,” Ladipoe explains via text, admitting the fundamental flaw in his verse and even giving an update to what a better-written verse would’ve sounded like: “I got an itch, *she told me she wanna scratch that*/you and that palm wine, you know *I wanna* tap that/maybe this one time you can put it in my jeans, *cos it’s something we both like* cause Henny is a bastard”

Ladipoe’s update shows that, for artists who are genuinely interested in ensuring the dynamics of their writing is wholesome, all it takes is self-awareness and the willingness to self-edit, two things that should always be a given during the writing process. In his latest song, “Know You”, this growth is clear when he says “we can go there if you want to”. On that note, it’s a positive step in the right direction that Ladipoe isn’t the only artist who is this thoughtful. On Blaqbonez’s 2018 album, ‘Bad Boy Blaq’, there’s a song tellingly titled “Consent”, and although it’s not the most nuanced song, his intentions and plaintive execution are impossible miss.

Afropop breakout stars of this year, Oxlade and Omah Lay, are also great examples, especially via their respective Best New Music entries “Away” and “Damn”. In the former, Oxlade serenades his love interest without invoking the wanton clichés of Nigerian pop music, and on the latter, Omah Lay indulges his flaws without diminishing the value of his devoted partner or treating her terribly, as is the stereotype amongst men.

While we tend to overestimate the power of music in triggering change, it’s still a tool for social awareness all the same. Artists might not be the ideal role models for our society, but they have a huge role to play in the fight to stamp out gender-based violence—all it takes is for them to be a bit more conscious of women’s agency (yes, the bar is that low). In this way, listeners can (in)voluntarily internalise the changes in their music and proceed to do better.

We don’t just want music that imitates the current way of life; we need music that reflects the fight for a better present and serves as a beacon for far more wholesome future where songs project and promote healthy club cultures and overall communication with women.

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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter

ICYMI: NASTY C DROPS TWO VIDEOS FOR “SMA” FEATURING ROWLENE

Mo Abudu to adapt 2 Nigerian literary classics into Netflix Originals

Posted on by Damilola Animashaun

Just a few days ago, The Nigerian Broadcasting Commission released a new broadcast code, which requires all online streaming platforms to license their exclusive content to other broadcast media in Nigeria. If this new code is implemented, it means PayTV and streaming platforms will be prevented from making content exclusive and compel them to sub-license content for a prices.

It seems, however, that Netflix isn’t breaking a sweat about this and have now made a major move in collaboration with prolific filmmaker, Mo Abudu.

We’ve all been waiting with bated breath about what Netflix’s first move in Nigeria will be. Now, news has broken about their multi-title deal with Ebony Life’s Mo Abudu, who has licensed many films and series to the streaming giant and will create two Netflix Originals.

Among the highlights will be a film adaptation of Wole Shoyinka’s play,  ‘Death and the King’s Horseman’, and a series based on Lola Shoneyin’s best-selling debut novel, ‘The Secret Lives of Baba Segi’s Wives’. 

Speaking about this partnership, Mo Abudu said:

“As a Nigerian storyteller, my biggest motivator has always been to tell authentic and untold stories that resonate with every person, regardless of where they’re from in the world while showcasing our culture, heritage and creativity. This unprecedented partnership is testament to Netflix’s investment in African storytelling.”

We haven’t got any release dates yet, however, Variety states that one of them will be out this 2020. We’ll definitely be waiting to see how they pull it off.

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For the Girls: It’s finally time for Nigerian rap to embrace its women

Posted on by Tami Makinde

You’ll probably remember the effect Meek Mill’s “Dreams & Nightmares” has on niggas in the club, when the DJ spins the track. Everyone goes crazy, they’re all rapping along to the hopeful, yet brag-filled rhymes and it’s fair to call the track an anthem, even after 8 years. I’m very certain that if clubbing was still a thing, Beyoncé and Megan Thee Stallion’s “Savage” Remix would have the exact same effect on women. There was a collective joy the night it dropped, especially considering that before the song dropped and lifted our spirits, we had a heavy day of abusers being exposed and old wounds opening up again.

Hip hop is one of the most digitally consumed genres of music globally, so much that they’ve since been integrated as popular music and are dominating the charts with ease (Roddy Ricch’s The Box is still in the top 10 on Billboard’s Hot 100). In Nigeria, however, that’s not quite the case, and the rap scene doesn’t quite enjoy many of the same benefits in popular culture and mainstream acclaim. Regardless of this, you can probably mention ten male rappers from Nigeria who are still active today with ease but will probably struggle when it comes to naming girls who rap in the same breath.

That’s telling of the ugly truth that the scene is overwhelmingly dominated by men, and women are still waiting to have their voices heard within an industry which rarely champions them. It’s interesting that men have used women as the subject of their music and created a narrative for us through their perspective for as long as time has existed, yet aren’t quite so open to letting women into the scene to actually speak for themselves.

Regardless of this, there have been female rappers who have given women a voice all this time – from the talented frontrunners like Weird MC, Muna, Sasha P, Eva Alordiah, Mo’Cheddah who set the foundation to the new generation of girl rappers like Ictooicy, Yazavelli, DetoBlack, SGaWD, Phlow, Ade Lasodé etc who are carving out space for themselves. Given the current climate towards women, especially at this very moment, there’s no better time for women to have a platform to say what they want to say unapologetically.

 

Last year, Jermaine Dupri aired his grievances about female rappers, stating “I feel like they’re showing us the same things. I don’t think they’re showing us who’s the best rapper. I think they’re trying to show — for me, it’s like strippers rapping.” Given that misogyny and patriarchal ideals are already deeply woven into hip-hop’s fabric, it’s not surprising to hear ignorant takes like this. When you think about the background of some of the best rappers in the game such as BIGGIE, Kendrick or Jay Z,  they are narrating the life they live(d), and showing the entire world what that entails. A rapper like Cardi B or Megan Thee Stallion is doing the same thing, so it’s curious that one’s life story is revered, whilst the other isn’t taken seriously.

When you consider that this is the case in the “progressive” western world, you can understand how far behind the Nigerian music scene is in the scheme of things. We’ve said before that men use their music as a means to motivate each other, and women should be allowed to do the same. This is why the collective efforts of the new-gen female rappers are not lost, and it’s extremely comforting to see a crop of women who unwilling to compromise the right to speak their truth.

Artists like Ictooicy are breaking down this barrier, and although she’s not rapping about her sexuality, her slew of lo-fi bedroom pop-tinged rap is very important for women like her. In a world where women who express their emotions are typically labelled as either ‘angry’ or ‘bitter’, Ictooicy’s confident and honest music holds it down for many young African GenZers. One her 2019 single, “Sage” she raps about the power of speaking her mind and explicitly dispels any efforts to make her into anything she hasn’t chosen to be on her own terms. By not following the rules, she’s been able to create her own playbook that has endeared her to her loyal following (her last project peaked at the #3 spot on Apple Music’s Alternative Album chart).

One big issue in the Nigerian music industry is that we feel like rap has to sound a certain way for it to be considered real rap. Given this, people who tend to express their rap abilities over any style of music aren’t considered rappers, and if even the men suffer this, you can rest assured that it’s no different for women.

For the majority of the past two decades, female rappers were almost made to fuse some elements of afropop into their rap, in order to stay relevant in the industry. Nowadays, however, given how much has changed in the industry, women don’t really have to jump through the same hoops as the ones before them did. The order of the day isn’t dictated by gatekeepers anymore – we have realised that you can’t see a glass ceiling and are smashing through them and breaking into closed doors.

Rap freshman, DetoBlack made her debut with what seems reminiscent of Nicki’s verse on “Monster”  in Odunsi the Engine’s sex-positive number “body count”. With her slick tongued lyrics, she calls all the bad bitches around the world to assemble, culminating in many TikTok videos surfacing online in the weeks following its release. She came in with the force of a seasoned rapper, stating her claim unapologetically and might not even realise how much she has set the tone for the generation of women who will come after her. Sexuality in hip-hop/rap has always been used as a means to objectify women, but by reclaiming that narrative and shooting her middle finger back at the boys, DetoBlack is empowering the next set of women to consistently speak on these topics that are typically shunned in these parts.

In the same breath, we have rappers such as Yazzavelli who have been towing a similar path for quite some time, and her debut project ‘Velli’  showed off her confident delivery alongside her carnal desires. We also have Ms Fu, who always bares her soul, and did a great job explaining how tired we are of the patriarchy on Kojo Cue’s “From My Sisters”. We also have Phlowz, who recently switched up her rappity-rap tone in her latest project ‘Marmalade’ , and we also have Abuja-based rapper and singer, SGaWD dishing it out as it is.

 

Thankfully, we’re slowly shedding the archaic belief that only one woman can be on top of the game at a time, especially with the current class of female rappers ready to show their each other support and the growing community being fostered amongst them. Women are wising up to the fact that we’re all fighting the same fight and feeding into the staged-drama from critics to fans alike, which doesn’t eve particularly give you a seat at the boy’s table. We need to be coming together and nurturing a more collaborative atmosphere amongst the women in hip-hop/rap because we’re oftentimes our only allies.

Women are currently fighting the good fight for the emancipation of our experiences, bodies, and society’s expectations of us in every walk of life. The strongest weapon these women have in their arsenal is their individuality, which will appeal to many women all at the same time, whilst showing off a vast and diverse range of talent and sonic quality. Gone are the days of constricting personas, and gatekeepers telling women who they have to be liked and heard. Their main audience – other women like them – should understand each person’s place, and that we’ll have women like Ms Fu and Ictooicy who will validate our feelings and talk you through your healing, whilst the DetoBlacks and Yazavelli’s provide us with twerk-ready anthems.

It feels like there’s more room than ever for women to do whatever they want. These women are not waiting for anyone’s permission to navigate typical Africanness, and the audience is also welcoming them as soon as they come forward. They are taking up space unapologetically, and it will be interesting to see how ready the wider Nigerian audience is for this.

We’re at a point where every minority group is demanding fair treatment, and given this, as women, we’re more receptive to anything that feeds into this narrative. We’re here to listen, and the women who are making music in this era may very well be remembered as a revival for women in rap and a cultural reset. Ignore them at your own loss.

Featured image credits/NATIVE 

Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_

ICYMI: We’re witnessing a dominant new line in the afropop vanguard

The Shuffle: Majek Fashek’s “Police Brutality” sends a timeless message

Posted on by The Native

In 1988, if you wanted a comprehensive review of reggae music’s global relevance, you couldn’t have done much better than to get your hands on ‘Prisoner of Conscience’, Majek Fashek’s breakout project. Though we’re generations away from when the album was released, the 7th track is titled after one of the most talked-about issues currently plaguing the world today, “Police Brutality”. The infectious Reggae harmonies and the emotive performance from Majek as he held a mirror to society, describing the damage caused by the police.  The song might sound a bit like a throwback, however, lyrically it’s more timely than ever.

The world has been immersed in the feeling of outrage since the horrific video of George Floyd’s murder at the hands of Minneapolis police officers went viral on the internet. Even here in Nigeria, police brutality has consistently plagued our society and whilst we were grieving with our American brothers and sisters, we also had to protest the unlawful killing of Tina Ezekwe, a teenager who was shot and killed by a policeman. Videos of police violence have continued to flood social media timelines with protests happening in America and other parts of the world that needed to remind their citizens that black lives matter.

If we needed a reminder of how awful things have always been, this is it, as Majek wasn’t prophetically warning about the dangers in the future when he released “Police Brutality” in the ’80s, he was speaking about the present reality of the time. One could even argue that it was a central part of the album as he can be seen wearing handcuffs in the project’s cover art.

“Police Brutality” emphasises that Majek Fashek’s greatest strength was his ability to always preach positivity. Throughout the song, he very clearly expressed his frustration and anger at the evil done by the people who are meant to serve and protect us; “Them dey loot, them dey shoot, them kill all leaders of tomorrow. This insanity has caused a lot of disunity in our community”.

Singing “Oh what a brutality/ I call it insanity”, “Police Brutality” hardly qualifies as protest music as he was merely describing a well-known reality for all his listeners. However, the hopeful message of the project’s lead single, “Send Down the Rain” showed that he remained optimistic about the future. Ironically, he passed away just last week, when police brutality appears to have reached its tipping point, and people are calling for a revolution of sorts.

“Police Brutality” can find new audiences with our present climate, clamouring for social change. The song remains endearing for fans who followed the singer’s journey until his last day, while those who have just discovered it for the first time should be given a push to change things since it’s clear that we’ve been there before.

Stream Majek Fashek’s “Police Brutality” below.

Featured Image Credits: Web/TheCable
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: In loving memory of Majek Fashek, who spoke the language of optimism 

Songs of the Day: New music from Prettyboy D-O, Nana Fofie, Nasty C, Efya x Tiwa Savage and more

Posted on by The Native

With most of the world self-isolating to flatten the COVID-19 curve, music is one of the things that has kept our spirits up and sustained our sense of community. Artists from all around the world have continued to put out new music, and their relatable subject matters help us process past hurts, dream of a better future, whilst also just enjoying the present moment. It’s completely understandable if this week, you haven’t really been keeping up with new music releases, given the current state of affairs around the whole world.

So to help out a bit, we’ve compiled a list of some songs you might have missed over the past week, in the middle of all the charos. Our mid-week “Songs of the Day” curation includes new releases from, Nana Fofie, Juls and Songo, Efya and Tiwa Savage, Skiibii and Reekado Banks, Nasty C and T.I, Prettyboy DO and Tim Lyre, and other artists like IDPizzle whose music provides escape from the increasingly bleak news updates we’ve been getting latest. Enjoy.

Nasty C – “They Don’t” Feat. T.I

Nasty C has been gearing up to the release of his upcoming project, ‘Zulu Man With Some Power’ and he’s been booked and busy all year long. Earlier on, he released his first single for the year, “There They Go”, where he stunted on his haters, and now for his latest release, “They Don’t”, featuring T.I, he’s tapping into hip-hop’s penchant for speaking the truth about the ills of society. He contributes to the ongoing protest against racial and social inequality, with lyrics describing the harsh reality he’s faced with as a black man, and seems to find comfort in spirituality and says “Everything will be alright soon/ The only thing I can do is turn to the Bible”.

Juls and Sango – “Angele Ni Fie”

Juls and Sango teamed up for an instrumental project, ‘Fufu and Grits’, released under Soulection Records. The standout track, “Angele Ni Fie” marries the cultural influences from the producer’s African origins, building a steady groove with horn samples, percussion, upbeat drums. chant samples which are primed to get listeners excited.

Nana Fofie – “Yeno Ntem”

Nana Fofie blends her Afropop sensibilities with contemporary R&B melodies to create a uniquely sensual sound anchored by her Ghanaian heritage. She has started the year off with a new romantic single, “Yeno Ntem”, upon which she sings over the laid back beat produced by WillyBeatz and VaineyOJ.

Efya – “The One” feat. Tiwa Savage

We’re excited to have reached a point where collaborations with women have become a mainstay in the industry, and this is what makes Efya and Tiwa Savage’s Black Jerzee-produced track so intriguing. Backed by catchy Reggae instrumentals, the pair address a love interest, with soulful vocals which complement the song’s appeal.

Skiibii – “Banger” Feat Reekado Banks

Skiibii and Reekado Banks have teamed up yet again after the success of their last collaboration, “Sensima”. Their new single, “Banger” is gearing up to become another hit, as they exchange lyrics celebrating their love interests, music and lifestyle. In typical Afropop fashion, the lyrics are penned to charm lovers and put listeners in the mood to dance and they accomplish this with the backing instrumentals provided by RhymeBamz.

Prettyboy D-O – “Odeshi” Feat. Tim Lyre

Prettyboy D-O is one of Africa’s most exciting artists, and his energetic personality always shines through on each track. His latest offering, “Odeshi” finds him describing his dedication to putting in the work; “From January, we dey grind till December so we no get time to play with pretender”. The song features a rap verse from Tim Lyre who infuses some Yoruba lyrics over the trap beat.

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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Here’s a list of comforting songs to help you unwind this week

A list of comforting songs to listen to soundtrack your healing this week

Posted on by Tami Makinde

2020 been a difficult year to navigate. Before our lives were threatened by a deadly disease, and now systemic racial and gender-based injustices, life was already crazy enough. Collectively, we all face a wide variety of obstacles on a daily basis, and now when you add the unease due to the aforementioned, there seems to always be something going on that’s trying to pull you down.

The pandemic has drawn us farther apart physically, yet somehow connected us online. The past week has shown that we all have a common interest to make the world a better place, following virtual and IRL protests in response to the death of George Floyd and the horrific assault and killings of young girls in Nigeria from Uwa Omozuwa to Tina Ezekwe.

There seems to be difficult news to consume at almost every turn, and the cycle of constantly digesting horrific news and graphic images can be detrimental to one’s mental health. The other day, I read somewhere that currently, your diet isn’t solely about what you’re eating; but also about the news you consume, the conversations you have, the music you choose to listen to daily and literally any information you’re willingly plugging in to has the power to change your social diet.

On the chorus of “Energy”, after baring his soul, Runtown directs us “back to the dancing”, and sometimes, it just be like that. Music has proven time and time again to be a conduit to healing, and whether it’s the song lyrics that resonate with you or a beat you can get lost in,  you’re likely to hear something that will make you feel better.

Last week, when it was all going down, we provided you guys with a care package filled with tips and advice on how to unplug and take care of yourself considering everything that’s going on. This week, while things seem to have calmed down a bit, we’re all still triggered and aware of the horrible realities we’re facing, so we’ve gone a step further and providing a music care package to get you through these difficult days.

There’s a lot going on at the moment, make sure you take care of yourself.

 

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Kojo Cue – From My Sisters

We can all admit that the world is a bit more shit than usual for women right now, and that’s why to start out, we want everyone to hear from Ms Fu, Anae, Dzyadzorm & Raphaella, who brought our collective voices together in this song. Although it was released back in November last year, it could have dropped today and still be as relevant.

A lot of the time, women are made to feel shame about how angry we are at a system which has been designed to keep us down, and this song in light of the past week is the perfect reminder of just how justified we are in our anger. We must do our bit to dismantle, disrupt and discuss, and the track which starts off with “Listen to the stories, you can feel the pain in our eyes”, presents the perfect starting point.

SOLIS – “Can’t Breathe”

SOLIS’ brand of lo-fi bedroom pop music is incredibly important, her messages are poignant and powerful. On “Can’t Breathe” she encapsulates perfectly what most of us may be feeling at the moment, the world is spinning fast but SOLIS’ angelic and undulating vocals are here to guide you through feeling your emotions until you can let them go.

Tems – “These Days”

Tems’ latest single couldn’t have come at a better time. The deeply reflective and sombre number is fitting for these uncertain times, and make for the perfect background for when you want to slow down and look within. With a clear confession of how she’s feeling towards a sour relationship, Tems has put forward a kind of vulnerability that validates yours and has created something that could replace a late-night conversation with your homegirls. Thank you Tems.

Dave – “Psycho”

Dave didn’t get a Mercury Prize in 2019 for no reason. His stellar and deeply intuitive project ‘Psychodrama’ saw him delving into themes of family and identity in an almost therapeutic manner. On the project’s “Dreams & Nightmares” style opener, “Psycho”  he bares his soul so honestly that it’s infectious. Dave mirrors everyone’s state of mind, speaking about spirituality, systematic injustice, mental health, identity crisis and more in the span of 4 minutes, without missing a beat. For anyone who’s finding it difficult to find a moment’s calm, Dave’s therapy rap is the perfect soundtrack to get those feelings out.

Nonso Amadi – “Free”

Nonso Amadi’s thing is love songs, and although “Free” is another love song, Nonso Amadi manages to capture a universal feeling; the need for freedom. With current social distancing requirements, the world is a different place from what it once was when this song first came out, but the message is still clear. Even while reliving heartbreak Nonso Amadi’s voice is soothing—resigned but optimistic.

Deathproof – Gigi Atlantis

The calm flippancy in which Gigi declares  “fuck, the method’s a madness”, and “ain’t finna die, so we ride” on “Deathproof” is exaclty what you need to wind down to this week. The BOJ-assisted song finds the balance between chant-ready declarations and promoting resilience, singing, “Nobody Said That It Would Be Smooth Sailing”, which indicates that it’s a song made for both the artist and the audience. The world is upside down for everyone right now, and Gigi seems like she’s giving us herself the push we all need at the moment.

Naira Marley – “Mafo”

It would be a disservice to the entire Marlian community to not include our President’s most uplifting and assertive song so far. If we know about any musician’s struggles, it’s Naira Marley, and his jovial attitude towards it all tells us everything we need to hear. On Ma Fo, he’s telling us not to panic, and to always stand our ground because life is fucked up. Young Jonn’s infectious beat makes it impossible for you to sit still whilst Naira Marley is telling us to ‘stay happy and se jeje’ . The storms never last.

Tomi Thomas – “Shaken”

Tomi Thomas has a gift. His uplifting vocals and memorable lyrics will always catch your attention, and keep you captivated in the song. “Shaken” is the gift that keeps on giving, it’s a powerful message for listeners to remain strong and bold even in the face of troubles, is incredibly touching especially now. Even though our faith is shaken, we will not be moved in these times.

Odunsi The Engine – “Wetin Dey/Better Days”

Odunsi’s double drop “Wetin Dey/Better Day” is the exact kind of music you would call rhythm and blues. “Wetin Dey” is upbeat, catchy, fun, and memorable with the colourful accompanying sure to bring a smile to your face, while on the flip side “Better Days” is a desolate tune more fitting for the times we are in. Much like Odunsi and Wani, we’re all praying for the better days to come and restore hope to the bleakness we’re all feeling.

Runtown – “Energy”

Runtown’s “Energy” is exactly what you need right now. His superpower is his ability to get us in our feelings, whilst wanting to turn up and this track makes the perfect summation. It’s the exact song that’s reflective of the artist’s mind, where he speaks about adoration for a love interest, but also flexes on naysayers and ‘enemies’ with platitudes such as “so I say, no man can take my joy away.  I just wanna make more money and live my life my way”. Think we can all relate.

Dami Oniru – “Nowhere to Run”

Dami Oniru’s latest single “Nowhere to Run” is a marker of the unprecedented times we’re all collectively navigating through at the moment. Rather than give up hope, Dami Oniru is telling us directly to engage in deep self-reflection, which is always the prerequisite for growth. Speaking to the NATIVE, she shared that: “The song is about rediscovering your power and finding strength in your weakness and just remembering that whatever the situation you are going to get through it”.

Burna Boy – Ja Ara E

This song starts off with wise words, “Your body go rest o, pa tell pikin o” which basically tells us that we can’t cheat nature. Earlier on, we spoke about how what you consume affects your state of mind, and if you don’t intervene, your body (mind in this case) will do what it needs to regardless. Later on in the song, he also gives some more solid advice, telling us to: “Look around in all the places you go to, stand your ground and stay solid like Ogun. Watch your back and do what you’re supposed to, take care of family and people you’re close to”. It’s important for us to stay strong at the moment.

Odunsi & Tems – Decided

When the song dropped back in April, we were weeks into quarantine when life was very confusing and people were grasping for any bit of grounding they can get. The past week, similarly, has felt a bit like that, and there’s a heaviness in the air that’s hard to place and navigate.

We’re at a point where we’ve been made to confront our immediate reality and contribute towards making a collective change to the injustices whilst dealing with the tragic deaths and y’kno, a pandemic. As our Best New Music selection that week, we said it was the perfect song for self-reflection and that’s every bit as true right now as it was back in April.

Skepta & Wizkid – “Bad Energy (Stay Far Away)”

Skepta and Wizkid’s first official music collaboration “Bad Energy” was undoubtedly the talk of the town that year, due to the catalytic effect of this fusion of two rich sounds. While when it dropped, it was the perfect soundtrack for summer parties and beachside living, with lines that made the perfect Instagram captions. Today, however, we quite literally need the positivity the song exudes, and we’re begging the bad energy to stay away.

Nasty C & T.I – “They Don’t Know”

This seemed like a befitting number to close this care package series. South African rapper, Nasty C has teamed up with rapper, T.I for a deeply sombre and reflective number titled “They Don’t Know”. The song directly addresses the racial injustices going on in the US, and urges listeners to remember the names of all those we have lost (Say Their Names: George Floyd, Breonna Taylor, Sandra Bland, and countless more). The proceeds from the song will be going towards Unity Freedom and Solidarity Fund.

Stay Safe everyone.

Featured image credits/giphy

Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_

ICYMI: The art of using music as a form of prayer

A list of comforting songs to soundtrack your healing this week

Posted on by The Native

2020 been a difficult year to navigate. Before our lives were threatened by a deadly disease, and now systemic racial and gender-based injustices, life was already crazy enough. Collectively, we all face a wide variety of obstacles on a daily basis, and now when you add the unease due to the aforementioned, there seems to always be something going on that’s trying to pull you down.

The pandemic has drawn us farther apart physically, yet somehow connected us online. The past week has shown that we all have a common interest to make the world a better place, following virtual and IRL protests in response to the death of George Floyd and the horrific assault and killings of young girls in Nigeria from Uwa Omozuwa to Tina Ezekwe.

There seems to be difficult news to consume at almost every turn, and the cycle of constantly digesting horrific news and graphic images can be detrimental to one’s mental health. The other day, I read somewhere that currently, your diet isn’t solely about what you’re eating; but also about the news you consume, the conversations you have, the music you choose to listen to daily and literally any information you’re willingly plugging in to has the power to change your social diet.

On the chorus of “Energy”, after baring his soul, Runtown directs us “back to the dancing”, and sometimes, it just be like that. Music has proven time and time again to be a conduit to healing, and whether it’s the song lyrics that resonate with you or a beat you can get lost in,  you’re likely to hear something that will make you feel better.

Last week, when it was all going down, we provided you guys with a care package filled with tips and advice on how to unplug and take care of yourself considering everything that’s going on. This week, while things seem to have calmed down a bit, we’re all still triggered and aware of the horrible realities we’re facing, so we’ve gone a step further and providing a music care package to get you through these difficult days.

There’s a lot going on at the moment, make sure you take care of yourself.

 

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Kojo Cue – From My Sisters

We can all admit that the world is a bit more shit than usual for women right now, and that’s why to start out, we want everyone to hear from Ms Fu, Anae, Dzyadzorm & Raphaella, who brought our collective voices together in this song. Although it was released back in November last year, it could have dropped today and still be as relevant.

A lot of the time, women are made to feel shame about how angry we are at a system which has been designed to keep us down, and this song in light of the past week is the perfect reminder of just how justified we are in our anger. We must do our bit to dismantle, disrupt and discuss, and the track which starts off with “Listen to the stories, you can feel the pain in our eyes”, presents the perfect starting point.

SOLIS – “Can’t Breathe”

SOLIS’ brand of lo-fi bedroom pop music is incredibly important, her messages are poignant and powerful. On “Can’t Breathe” she encapsulates perfectly what most of us may be feeling at the moment, the world is spinning fast but SOLIS’ angelic and undulating vocals are here to guide you through feeling your emotions until you can let them go.

Tems – “These Days”

Tems’ latest single couldn’t have come at a better time. The deeply reflective and sombre number is fitting for these uncertain times, and makes for the perfect background for when you want to slow down and look within. With a clear confession of how she’s feeling towards a sour relationship, Tems has put forward a kind of vulnerability that validates yours and has created something that could replace a late-night conversation with your homegirls. Thank you Tems.

Dave – “Psycho”

Dave didn’t get a Mercury Prize in 2019 for no reason. His stellar and deeply intuitive project ‘Psychodrama’ saw him delving into themes of family and identity in an almost therapeutic manner. On the project’s “Dreams & Nightmares” style opener, “Psycho”  he bares his soul so honestly that it’s infectious. Dave mirrors everyone’s state of mind, speaking about spirituality, systematic injustice, mental health, identity crisis and more in the span of 4 minutes, without missing a beat. For anyone who’s finding it difficult to find a moment’s calm, Dave’s therapy rap is the perfect soundtrack to get those feelings out.

Nonso Amadi – “Free”

Nonso Amadi’s thing is love songs, and although “Free” is another love song, Nonso Amadi manages to capture a universal feeling; the need for freedom. With current social distancing requirements, the world is a different place from what it once was when this song first came out, but the message is still clear. Even while reliving heartbreak Nonso Amadi’s voice is soothing—resigned but optimistic.

Deathproof – Gigi Atlantis

The calm flippancy in which Gigi declares  “fuck, the method’s a madness”, and “ain’t finna die, so we ride” on “Deathproof” is exactly what you need to wind down to this week. The BOJ-assisted song finds the balance between chant-ready declarations and promoting resilience, singing, “Nobody Said That It Would Be Smooth Sailing” – which indicates that it’s a song made for both the artist and the audience. The world is upside down for everyone right now, and Gigi seems like she’s giving herself the push we all need at the moment.

Naira Marley – “Mafo”

It would be a disservice to the entire Marlian community to not include the President’s most uplifting and assertive song so far. If we know about any musician’s struggles, it’s Naira Marley, and his jovial attitude towards it all tells us everything we need to hear. On “Ma Fo” he’s telling us not to panic, and to always stand our ground because life is fucked up. Young Jonn’s infectious beat makes it impossible for you to sit still whilst Naira Marley is telling us to ‘stay happy and se jeje’ . The storms never last.

Tomi Thomas – “Shaken”

Tomi Thomas has a gift. His uplifting vocals and memorable lyrics will always catch your attention, and keep you captivated in the song. “Shaken” is the gift that keeps on giving, it’s a powerful message for listeners to remain strong and bold even in the face of troubles, is incredibly touching especially now. Even though our faith is shaken, we will not be moved in these times.

Odunsi The Engine – “Wetin Dey/Better Days”

Odunsi’s double drop “Wetin Dey/Better Day” is the exact kind of music you would call rhythm and blues. “Wetin Dey” is upbeat, catchy, fun, and memorable with the colourful accompanying sure to bring a smile to your face, while on the flip side “Better Days” is a desolate tune more fitting for the times we are in. Much like Odunsi and Wani, we’re all praying for the better days to come and restore hope to the bleakness we’re all feeling.

Runtown – “Energy”

Runtown’s “Energy” is the vibe you need right now. His superpower is his ability to get us in our feelings, whilst wanting to turn up and this track makes the perfect summation. It’s the exact song that’s reflective of the artist’s mind, where he speaks about adoration for a love interest, but also flexes on naysayers and ‘enemies’ with platitudes such as “so I say, no man can take my joy away.  I just wanna make more money and live my life my way”. Think we can all relate.

Dami Oniru – “Nowhere to Run”

Dami Oniru’s latest single “Nowhere to Run” is a marker of the unprecedented times we’re all collectively navigating through at the moment. Rather than give up hope, Dami Oniru is telling us directly to engage in deep self-reflection, which is always the prerequisite for growth. Speaking to the NATIVE, she shared that: “The song is about rediscovering your power and finding strength in your weakness and just remembering that whatever the situation you are going to get through it”.

Burna Boy – Ja Ara E

This song starts off with wise words, “Your body go rest o, pa tell pikin o” which basically tells us that we can’t cheat nature. Earlier on, we spoke about how what you consume affects your state of mind, and if you don’t intervene, your body (mind in this case) will do what it needs to regardless. Later on in the song, he also gives some more solid advice, telling us to: “Look around in all the places you go to, stand your ground and stay solid like Ogun. Watch your back and do what you’re supposed to, take care of family and people you’re close to”. It’s important for us to stay strong at the moment.

Odunsi & Tems – Decided

When the song dropped back in April, we were weeks into quarantine when life was very confusing and people were grasping for any bit of grounding they can get. The past week, similarly, has felt a bit like that, and there’s a heaviness in the air that’s hard to place and navigate.

We’re at a point where we’ve been made to confront our immediate reality and contribute towards making a collective change to the injustices whilst dealing with the tragic deaths and y’kno, a pandemic. As our Best New Music selection that week, we said it was the perfect song for self-reflection and that’s every bit as true right now as it was back in April.

Skepta & Wizkid – “Bad Energy (Stay Far Away)”

Skepta and Wizkid’s first official music collaboration “Bad Energy” was undoubtedly the talk of the town that year, due to the catalytic effect of this fusion of two rich sounds. While when it dropped, it was the perfect soundtrack for summer parties and beachside living, with lines that made the perfect Instagram captions. Today, however, we quite literally need the positivity the song exudes, and we’re begging the bad energy to stay away.

Nasty C & T.I – “They Don’t”

This seemed like a befitting number to close this care package series. South African rapper, Nasty C has teamed up with rapper, T.I for a deeply sombre and reflective number titled “They Don’t”. The song directly addresses the racial injustices going on in the US, and urges listeners to remember the names of all those we have lost (Say Their Names: George Floyd, Breonna Taylor, Sandra Bland, and countless more). The proceeds from the song will be going towards Unity Freedom and Solidarity Fund.

Stay Safe everyone.

Featured image credits/giphy

Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_

ICYMI: The art of using music as a form of prayer

Listen to Mr Eazi’s new EP, ‘One Day You Will Understand’

Posted on by Dennis Ade Peter

In less than five years since garnering widespread popularity between Nigeria and Ghana, Mr Eazi has established himself as one of the forerunners of African pop music, not just in the drive for further global recognition, but also playing a major role in fostering a proper ecosystem on a pan-African level. Since the beginning of last year, Mr Eazi has performed at Coachella, snagged multiple cross-Atlantic features with J Balvin, Four of Diamonds and more, in addition to the incubator program/record label and distribution services arm he founded, emPawa Africa, has been integral in spreading the reach of many new artists across the continent.

With all of these successes and obligations, the singer has remained consistent with his own solo releases, and he’s just shared a new EP, ‘One Day You Will Understand’, in collaboration with emPawa. The 4-track EP plays into Mr Eazi’s realised pop instincts, pairing colourful production with his trademark writing style to suit the beat, languidly infectious melodies and guest vocals from King Promise and C Natty. On the EP, Mr Eazi comes across as a consumed romantic, as he laments about a love interest who’s with someone else on the Guiltybeatz-produced “Baby I’m Jealous”, and restates his undying commitment on the pre-released single, “I No Go Give Up On You”.

In hyper collaborative mode, the EP features four different producers, with Nonso Amadi laying the folk-pop beat for “Ogogoro No Sweet Pass Pami”, while Legendury Beatz set the foundation for the club-ready sound of  “Baby This Your Body Na Gobe”. ‘One Day You Will Understand’ is Mr Eazi’s first project since his 2018’s ‘Life is Eazi, Vol. 2 – Lagos to London’.

Listen to ‘One Day You Will Understand’ here.

Featured Image Credits: Getty

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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter

MR EAZI AS ROMELU LUKAKU & OTHER NIGERIAN ARTISTS AS FOOTBALL STARS

We Spoke to members of the creative community in Kaduna about the ongoing conflict

Posted on by Adewojumi Aderemi

The past week has been utterly disheartening. Along with news of the brutal crimes committed against young girls all over Nigeria, came a harrowing reminder of the ongoing conflict in the North as the #KadunaMassacre began to trend alongside the various “Justice For” hashtags on Twitter.

Though news of the constant violence that plagues Southern Kaduna often makes headlines in mainstream media – to the harrowing extent that sometimes they may not even be the headline – many young Nigerians outside the region find themselves grossly uninformed of the extent of the violence. The truth is, these killings have in fact been ongoing for over three decades. Unbelievable as it may seem that Nigerians are being slaughtered in one part of the country whilst the rest of us remain oblivious, this has been the reality for a very long time. So, let’s take a brief look at the history of the Southern Kaduna attacks. What are these killings all about?

Well, the root of the conflict is a struggle across numerous states in Northern Nigeria between the Fulani Herdsmen (also labelled the Fulani Militia) and farmers over depleting land resources – owing to the encroachment of the Sahara due to climate change and urbanisation. Historically, the government allotted grazing reserves to herdsmen in a scheme whereby they provided the herdsmen with land, water and the requisite resources for them to rear their cattle in return for taxes. However, with the ‘70s oil boom, came a decline in the agricultural sector, and this resulted in the neglect of the grazing reserve system.

So the situation at present is that stripped of their security and stability, the herdsmen now resort to seasonal nomadic grazing; however, as other communities have built upon the land they wish to graze, contention between the herdsmen and the local people invariably arises. In recent years these clashes have increased – which is why we’re hearing (more) about it – and the ensuing conflict has resulted in mass displacement and needless, tragic deaths.

Designed to raise awareness about the killings, the trending topic, #KadunaMassacre was met with hostility by the police and political figures in the region, who believed the hashtag to be a divisive tool to undermine the efforts of security personnel in achieving peace. With the Kaduna Police threatening to prosecute journalists ‘for spreading fake news’ (the news was true, just reported late), and conflicting reports on the magnitude of the killings, social media news of the #KadunaMassacre was shrouded in uncertainty.

Given how terrifyingly rampant this genocide is in the region, how distressing it is that innocent people are losing their lives and their land by the masses, it’s imperative that we familiarise ourselves with the facts so that our mobilisation for peace in aid of our country-people is well-informed. To that end, The NATIVE reached out to members of the creative community in Kaduna, who have helped us shed light on the conflict in the place they call home, giving much needed perspective of those living, working and creating amidst the unrest.

Yamai Kholie Patrick

Yamai is the owner of classic menswear brand Kholie, formerly known as YKP. Born out of a healthy dose of vanity and necessity – Yamai’s need to dress to impress on a university student’s budget – Kholie began as an up-styling project, where Yamai would buy second-hand clothes and then customise them according to the latest trends he’d spotted in the movies.

These early days dating back to 2012 – a time when MTV Base Africa had successfully spread the gospel of South African urban wear sensation, Ama Kip Kip – music videos were another huge inspiration for the young Yamai as they were for most young Nigerian creatives of all walks. Eight years, an accounting degree and his NYSC service later, Yamai’s Kholie retains some of the playful exuberance characteristic of the whacky videos which coloured most millennial childhoods, whilst conforming to the matured tailoring of traditional Nigerian menswear.

Ruth Joan Waziri

Ruth is also a designer, though Ruth Waziri Atelier is much younger than Kholie. Entering into the creative sphere as a model (she’s represented by Few), Ruth began designing her own ‘fits just two years ago. In this short time, Ruth Waziri has evolved from a traditional bespoke tailoring brand into a contemporary womenswear fashion label. Attending Bingham University in Karu, Abuja, and beginning her brand during her Youth Corp year (she was lucky to pass out in March, right before the COVID-19 lockdowns began) Ruth boasts an interstate market between Kaduna and Abuja.

Midst Dyeris

Midst is a documentary filmmaker, who came into the game in 2016, the year which marked a turning point in Nigeria’s creative industry, where artistic disciplines began to garner more respect and earn its people social brownie points. From what I remember at least, 2016 gave birth to the ‘cool’ creative (‘cool’ replacing struggling, try-hard, inauthentic and other negative parentheses that some were predisposed to using when describing creatives). Midst wanted in on this “cool thing” called filmmaking and it didn’t take him long to fall in love with the discipline, officially kicking off his career as a filmmaker toward the end of the following year.

Venturing into filmmaking was not without difficulty. Struggling to promote his local content without any funding, Dyeris made the decision to upgrade his TV and YouTube content creation to wedding and documentary filmmaking, as these were more lucrative outputs for his time and resources. With a lot of ups and downs along the way, Midst describes his journey using the universal adjective for the indescribable experience, “interesting”. But having fallen in love with storytelling Midst’s drive to create never relents.

Yashim Abin

Yashim – more commonly known as Sketch – owns a lifestyle brand that specialises in beaded bracelets, although other accessories such as caps and necklaces are also available. An architect by discipline, Sketch has always been industrious with his hands. In fact, it was his passion for drawing and other crafts – from making greeting cards to party decorations – in primary school, that scored Yashim the alias Sketch. SKETCH is the name Yashim appropriately bestowed upon his brand in 2013 when he decided to meld his fashion enthusiasm with his artistic inclinations in honour of his father, who passed away that year.

The loss of his father inspired Sketch to start something for himself, putting his love of fashionable accessories to good use. In remembrance of his dad, Yashim’s first creation under SKETCH was a commemorative bracelet. Realising that he wasn’t the only one who needed a token by which to remember a deceased loved one, Sketch began making remembrance pieces for friends and relatives and so the “something of my own” Sketch had committed to starting in honour of his father was born.

These four beginnings are relatable to any creative who’s gone out and started their own thing. But for Sketch, Ruth, Yamai and Midst, their Kaduna location and the instability in the regions has a real bearing on their businesses, and their personal lives too.

What’s it like being a creative in Kaduna?

Midst: Being a creative here is a bittersweet feeling. Sweet because there are a lot of stories to tell, it’s affordable to carry out projects without thinking twice, which is an add up to any creative mind. Bitter because creatives hardly get the accolades they deserve. People would rather pay someone coming from Lagos x3 to do a job and drag quarter the price with a home-based creative for the same or even better quality.

Yamai: It is really challenging trying to break out into the national scene, you know? People don’t really respect what you do if you’re not in Lagos or Abuja. But so far, the growth has been steady and encouraging. [A benefit is that] we have a fair overhead cost here in Kaduna compared to places like Lagos and Abuja. Rent is a bit fair, there’s ease of going around here, transportation is cheap.

Sketch: It’s been good really, basically because there’s always been an overflow of ideas, [which] could be attributed to [me] being in my home zone. But as much as there a pros there are cons. Sourcing of raw materials, skilled labour and equipment have been really challenging, [as well as] market of products, sales and all of that.

Ruth: Being a creative in Kaduna is hard work, especially when what you’re trying to do isn’t something really familiar in the North. I’ve encountered some struggles with pricing, exposure, at some point logistics were hard. Also getting raw materials, especially when I need to get some things for bridals. [For instance] I’ll go to the market and ask for let’s say, a padded bra cup –I’ll be told I have to order from Lagos because people here don’t use etc. There are fabrics quite alright, but you find out that there are new things in vogue etc and I’m looking for it up and down [in Kaduna] but when I get to Garki market in Abuja it’s there, gbam!

When I was in Abuja, people paid for my services without asking questions and belittling what I charge or so. Kaduna is also relatively cheaper than other places. Hiring tailors and transportation (days when I have to go to the market to and fro or do fittings or take measurements) is cheaper. I also have more clients here, since that’s where started from and grew. I think at some point when I was serving in Abuja, I had to do interstate sewing and send to my clients over here, and that helped me in learning how to take my time and sew properly without having to think of adjustments etc.

 

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How has the violence in Southern Kaduna affected you?

Sketch: Well, it really has affected me on a personal note ‘cause my old man passed during the killings around my hometown, in 2013. For a long time, this has been going on. We used to casually stroll to our hometown, but these days it has to be very important and calculative. I can’t visit my hometown or [my] dad’s grave like I’d love too. It has also really affected my business directly.

Yamai: Directly, as regards to a family member, no. But there are people who I know that have lost relatives. It has affected business [though]. In some periods we have to be on 24hrs curfew, for a week or so. The last one that required a long curfew that affected where I stay was October 2018. I remember having to sneak out of Kaduna to attend LFDW that year, as it was a no movement, stay in your house curfew.

Ruth: Personally, we are all affected because we all know one or two people from these parts. There’s a girl that lives with us who went home to see her parents during this lockdown and she’s from that particular community or around it I think. We couldn’t reach her and everyone was panicking and all. We were on edge about what could have happened to her until we finally heard from her, and explained her situation. 

Mentally you’re always thinking about what if and panicking. Some people who don’t know the distance in Kaduna and your friends who are not from around will be calling to check up on you to make sure everything is okay when they hear that there was an attack in Kaduna. It’s very draining to keep explaining to them over and over again. With regards to business operations and so on it doesn’t really affect me per say since most of my clients live in [the] main Kaduna town.

Midst: For me, the killings hit personally. A lot of times I go online and see it on the trend list, and it breaks my heart. Some weeks back, we were coming from a trip and we passed a village that was attacked the previous night – [it] was not a good sight. Seeing women and children leaving their homes to a distant land, walking miles with lots of luggage because strange people are attacking their land, killing their fathers, mothers and children is heartbreaking. I mean those images are disturbing. A woman we gave a lift cried and said she thought she [wouldn’t] make it, I can’t say exactly [what] the reasons for these killings [are] but the Government are not doing enough or apparently not doing anything about it and it pains the most. 

 

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Is there any form of activism ongoing against the violence in Southern Kaduna?

Ruth: None that I know of

Sketch: Well in recent times I don’t know who’s has been advocating, but I know there have been a few individuals and a few people on social media. I haven’t seen any other [besides SOKAPU] movement/medium that have moved against this violence

Midst: I have heard and read about the Southern Kaduna Union. It is a good one to have a Governing body that will always speak for their people, I am not part of any movement but I will always give support with my craft.

Yamai: I call out the government when they mess up and support them on projects that make sense. I mostly just want what’s right for the people. I don’t know if that’s activism, but I really want the country to be better.  The most common [activist group] is SOKAPU [Southern Kaduna Peoples Union]. Steven Kefason [and] John Danfulani. 

Unionisation is something I think we all consider to be largely a thing of the past; thanks to the Thatcher/Reagan era, peoples unions have seen a dramatic dissolution. These days, unions aren’t as prolific and few wield as much power as they did during industrialisation’s prime. But in Southern Kaduna, the Peoples Union is the primary activist group demanding peace be restored to the region, the only formal organisation speaking out against the lethargic government it seems. As a community, the people of Southern Kaduna believe that they have suffered social and economic inequalities and injustices at the hands of what they deem to be their (state) government’s disinterest in their welfare or their lives.

It’s not difficult to see why the people of Southern Kaduna are disgruntled. Attacks on their communities are largely met with silence: the President of SOKAPU has criticised Kaduna’s governor el-Rufai over his quickness to respond to attacks in the Igabi and Giwa villages in early March, whilst having never condemned it nor issued a statement when attacks have occurred in Southern Kaduna municipalities. When outrage is garnered and shared by the Nigerian people at large, security personnel seek to undermine the gravity of the issue. The state’s First Lady even brazenly denied any obligations to condemn the killings via her public Twitter platform, essentially saying she’s just here for the LOLs.

That isn’t to say that authorities have been entirely mute. President Buhari – communicated through Senior Special Assistant on Media and Publicity, Garba Sehu – issued a statement on the latest (May 13) attacks in Kajuru LGA, Kaduna and el-Rufai shared a retweet mentioning how he has brokered peace. Unfortunately for the people of Kaduna, a few words and some retweets of a resolution without any transparency or assurance that it will be lasting isn’t going to cut it. There are still many displaced peoples. There is still a general fear of impending attack. Kaduna (and other states in which the Fulani militia are in operation) need action.

Midst: The government should act. We are not talking about just a life, these killings are happening back to back and The Governor hasn’t said a word yet.

Sketch: There are supposed to be some “conflict resolution“ means of resolving all of this really. Because securing those areas with security personnel is something the government isn’t ready to do.

Yamai:  We just want the government to take actions. We want the killings to stop.

With regards to what the rest of the country could do, Yamai thinks:

“Calling them out and making sure that is done will go a long way for us.”

So load up your Twitter fingers my fellow keyboard warriors, we’re fighting for Peace in the North.

Wojumi is a bad bitch and she’s going to brag about it. Tweet her your latest cultural exploits @dewoju

ICYMI: Here’s a few things to do to end gender-based violence around you

How Majek Fashek’s music spoke the language of optimism we need at the moment

Posted on by Dennis Ade Peter

Even though my respiratory system is easily prone to illness from exposure to cold, I’ve always found being in the rain to be quite liberating. I remember a few times in uni when the skies darkened and droplets of water would begin to pour, instead of seeking covers I’d continue playing football with guys who clearly had a better tolerance for the weather. That same night, or the next morning at the latest, the effects of my choice would predictably and painfully begin to manifest, but I don’t recall ever ruing my decision to throw caution into the wind.

I’d be lying if I said I’ve had any profound, rain-related moments with Majek Fashek beyond classic 1988 single, “Send down the Rain”, but thinking about it now, it perfectly encapsulates the carefreeness of standing, running or doing any under playful activity in the rain. It might cause a coughing fit, difficulty in breathing for a while or even graver consequences, but being in the rain can be an act of living in the moment and enjoying what’s happening right there in front of you. Recorded during a period of low rainfall in Nigeria’s south-south region, “Send down the Rain” was more than a plea for the heavens to open, it is, on a visceral level, a personification of the unfiltered joy rain can bring as an experience.

As a younger millennial who knew of Majek Fashek and didn’t get to experience him during his peak in the late ‘80s and early ‘90s, a song like 2Baba’s “Dance in the Rain” is a bit more fitting as the soundtrack for my trysts with rain. The thing about timeless music, however, is that it’s never too late to fully appreciate it and find new meanings. “Send down the Rain” is as evergreen as music gets, and it’s one of those songs several generations of Nigerians are familiar with, whether they experienced its smash success first-hand and the ensuing myth that christened Majek, “Rainmaker”.

Growing up with parents who were only interested in playing the “classics”, I was very familiar with Majek’s signature song, but my first time actively and voluntarily listening to the singer as an adult happened through sampling. In late 2015, Nigerian rapper, Boogey dropped his mixtape, ‘Irregularly Scheduled Program’, and on it was the standout selection, “Say Amen”, a prayer-filled cut that was carried by a warm reggae-folk instrumental, which I later found out was a sample of Majek’s “Holy Spirit”. That served as my gateway into ‘Spirit of Love’, the legendary singer’s international major label debut on Interscope Records.

Released in 1991, ‘Spirit of Love’ captures Majek, with the support of his band, the Prisoners of Conscience in sublime form. Musically rooted in reggae, with visible Yoruba folk influences, and championing the Rastafari beliefs of freedom and world peace through a pan-African lens, the album is a compelling combination of socially aware music and evocatively arresting rhythms. Loading his music with a message was Majek’s mode of operation on his three previous albums, and it continued until his final album in 2017, ‘Weep Not Children’, which features a 2Baba-assisted remix of “Holy Spirit”.

In the enviable league of Nigerian artists who spoke truth to power, though, Majek was unique in his own brand. He wasn’t as satirically blunt as Fela or as humorously surgical as Lagbaja, but what made his music so potent and instantly attractive, was that he proselytised using hope. With a voice that communicated vigour by cutting through the pain, and poignant writing that sounds inspiring even at its most pedantic, Majek prioritised the bigger picture of a brighter future, without undercutting the tension of a world suffering from racial injustices, or Nigerian society struggling with civil fairness and economic difficulties. Since these issues are still very prevalent, Majek’s most enduring legacy might be his optimism, especially in a time when it’s all doom and gloom.

If you’re a person with a beating heart and any common human decency, the events of the past week have been extremely difficult to manoeuvre. The news cycle and timeline feeds have constantly given us reasons to wince in agony and heartbreak, shifting the focus between gender-based violence and police brutality. We learnt of the death of the teenager, Tina, at the hands of police, reports and accusations of sexual violence have been coming fast and in vivid details, and the world got to see another unarmed black man getting murdered by the police—all of this has happened against the backdrop of an actual global pandemic.

Perhaps the most foreboding part of this unfortunate series of event is that, we’ve been here before and it never seems to get better. In usual fashion, these reports have been rightly met with outcries, outrage and protests, but it all feels like inflection points in the never ending downward spiral. We’ve seen a man leverage privilege into support despite indicting himself as a rapist, the family of a sexual assault victim is currently being denied justice due to the ineptitude of our policing system, and a country is brutalising its citizens for protesting against race-motivated injustices, with support from its president.

Under these circumstances, optimism is quite a luxurious commodity. Obviously we want things to get better, which is the reason for our outrage, but the contradicting forces in our society makes it difficult to truly believe things are going to get exponentially better anytime soon. In fact, if you’re a Nigerian who’s pragmatic enough to gauge the rot of society – which has an alarming poverty statistic; is morally bankrupt and socially vindictive despite placing a premium on puritanical values and also has been saddled with leaders who exploit these same defects rather than fix them – it’s easy to tread into hopelessness because nothing really gets better around here.

Regardless, that’s the task we’re faced with if we want something to change— to challenge the idea that nothing really gets better around here. “There’s work to be done, Africa”, Majek sings on the rallying anthem, “So Long Too Long”, a call to duty that’s as urgent today as it was when the song was released three decades ago. It might sound like some sanctimonious BS, but the fact is that we are all responsible for the change we desperately want to see. Even though our society makes it easy to feel helpless, we have to hang on to hope wherever we can find it so we don’t lose sight of the reasons we’re outraged.

The stereotype is that Nigerians are a self-serving people who only care for their personal needs, and as true as that is, the displays of collective annoyance and communal support is proof that many of us want a better, saner and safer society. With the odds stacked up against us, being positive is the only motivation to continue chipping away towards a brighter future. That’s what Majek Fashek represented in his music; he spoke the language of optimism while singing of the daunting challenges of rebuilding society for the better.

 

By default, I’m not a very optimistic person, however, I also hate to think that things won’t ever get better. Following the announcement of his sad passing in the early hours of Tuesday, June 2nd, 2020, and in light of the crazy events of the past week, listening to Majek’s music feels like tapping from an inexhaustible fountain of hope. Even though he had a rough fall from grace and his powers as a musician considerably waned as he battled personal demons, we should remember him as an artist who spoke truth to power in the form of empowering, optimistic hymns.

We should honour his memory by drawing inspiration from his visions of a future that’s free of police brutality and any other forms of oppression. Our society has been burning for a while, and we have to anticipate or at least create the conditions for the rain that changes the tides of things.

Rest in peace, Majekodunmi Fasheke.

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ICYMI: REMEMBERING TONY ALLEN, A BONAFIDE AFRICAN MUSIC HERO

Examining the societal structures which enable sexual assault

Posted on by Damilola Animashaun

While global society has been fighting to dismantle harmful beliefs and behaviour which enables rape culture, Africa as a whole has only started to catch up and we seem to be decades behind the rest of the world. In light of the fact that we have lawmakers who still believe that women should dress ‘appropriately’ to avoid sexual assault since ‘men are not wood’, and policemen who when a case is brought to them think it’s appropriate to ask a traumatised 18-year-old whether she enjoyed her assault, we have a lot more than we think to dismantle.

If you’ve been paying attention to social media over the past few days, you’ll see that something doesn’t quite sit right. With reports of several women being killed at the mercy of police brutality and mostly sexual violence, we’ve reached a tipping point where the dark underbelly of societal ills are now being exposed. Unfortunately, the consequence of this has been the loss of precious lives to society’s negligence of what women have been fighting against for most of my life. Given this, it’s clear that we’ve reached a time of reckoning and there’s a huge demand for change. To do our fair bit for our community, The NATIVE will be joining The Consent Workshop in their ongoing campaign, 21 Days Of Consent, to produce a 5-part series. Each piece will be dedicated to dismantling different facets of rape culture and how the music industry as a whole contributes to this from the actual music to the structures in place.

Back in April, after several whispers, we learnt horrid details of Brymo’s alleged assault of an unassuming fan, amidst a swarm of women coming forward to boldly name and shame their abusers. Since then, there seem to be no consequences for the singer, and he’s resorted to threatening his accuser with the law, whilst relying on the support of fans and tweeting incendiary things such as “silence is always consent”. As recently as last night, we learnt about how talent manager, Mayowa Balogun recorded his partner during sex without her consent and also proceeded to announce this encounter to Twitter (in form of an apology) without speaking to her about it first. From the varying nature of each of these cases to the responses in favour of the accused men, we’ve spent the past week confirming something we already knew: the music industry and society as a whole has a big issue with their attitudes towards women.

In the past week alone, we’ve heard of accusations made against artists and others in the music and entertainment industries such as Peruzzi, D’banj, Comedian Ebiye and Mayowa Balogun. Peruzzi’s 2020 began with accusations by Daffy Blanco, who in January, said he had defrauded her of 15 million Naira and also tried to force himself on her. As usual, this accusation went away as quickly as it came, and we never heard anything about it after a while. Last week, however, another allegation was made against Peruzzi, this time with a detailed description and voice recording of what allegedly transpired between them.

Trigger Warning 

In her Twitter thread, Jayamah22 went into great detail about how he forced himself on her after she had repeatedly rejected his advances. Although the singer/songwriter emphatically denied these claims in a statement and also via several tweets, a slew of older tweets from him are indicative of his (and society’s) attitudes towards women and their autonomy, making a case for how these attitudes have led to the tipping point we’re at today.

In Peruzzi’s tweets, he says overtly (and around the same time of his alleged act) that if a woman does not agree to his advances, then he will forcibly have sex with her. In his statement, however, Peruzzi admits that his tweets were irresponsible and that because he was younger, didn’t realise the gravity of the things he was saying. Similarly, Mayowa Balogun in his address, relied on the fact that he wasn’t aware that his behaviour was problematic, even though it has only been over the course of two years. Given that sexual assault is not a new thing, it’s a bit curious that people generally don’t realise the gravity of making distasteful jokes about sexual assault, and this is where society has failed, mostly to the detriment of women. Worldwide, thanks to the patriarchal structure of our society, attitudes towards sexual relations between men and women have the effect of trivialising or normalising sexual assault and harassment.

People tend to think that unless it escalates to the point of the penetration, then ‘it’s not that deep’, however, the rationale behind tweets such as Peruzzi’s –which is basically that a woman does not get the choice – are a big part of the problem. Similarly to the account shared by Brymo’s accuser, what’s clear and common, is that these men have prioritised their own sexual urges over the autonomy of their (possible) partner’s. Where people might see a grey area thanks to these societal structures, we are (and have been) saying that it is assault. This is a direct result of the patriarchal culture which teaches that sex is something a woman gives to a man for him to take or enjoy and in these (alleged) cases, they were both denied something society taught to believe is theirs to take.

In addition, our society’s disingenuous teachings about sexual relations are deeply rooted in traditional and religious norms. Therefore, sex is treated as a taboo topic and many of us would have only been taught that we shouldn’t do it more than anything else. In many homes, parents fail to teach their sons about consent – based on the assumption that they shouldn’t be doing it anyway – whilst teaching and impressing upon their daughters the importance of avoiding trouble. When these things then do happen, there’s an ingrained culture of victim shaming and blaming, since the order of the day is that women should avoid trouble rather that men shouldn’t be doing these things in the first place. By getting into this trouble (even through no fault of her own), she has essentially stepped out of the line society has marked out for her, and the focus is then shifted to this rather than the consequence for the actual abuser.

Knowing that they are not as protected as they should be, victims and survivors often remain quiet, afraid of the consequences they will face. In the thick of things last week, Comedian Ebiye’s ex-girlfriend came forward and recounted details of the physical and sexual abuse she endured during the course of their relationship. Whilst it was chilling to read the comedian’s deplorable acts, what was more upsetting was her account of his confidence that there would be no consequences of his actions, because of his loyal fanbase.

With the knowledge of the cushioning they have, thanks to their privilege, perpetrators typically have a lot of confidence that they can get away with assault.  When women make allegations against prominent figures in society, people come out in droves in support of their faves, whilst silencing the women they have allegedly abused. By questioning the legitimacy of a person’s account, what they’re doing, is making the public (who already have dangerous views towards sexual assault) less empathetic towards these women who have come forward. Given how much has already been discussed, it’s fair to say that these people know exactly what they are doing.

As it is, while Ebiye’s ex-girlfriend feels liberated for sharing her story, she also feels unsafe – she doesn’t believe her parents will be understanding if they were to find out, and she also believes that she could be harmed by people connected to the comedian. These fears mirror and confirm what most people in her position feel, and this should be enough indication that something ain’t right.

The unravelling of events this week has brought to light the fact that we cannot continue to be complacent in hoping that things will change without ensuring change is implemented. While we can all contribute in our own little ways to continue working towards building a community that prizes fairness and social justice, we must also disrupt and dismantle to ensure that all are treated with dignity and respect. In our next part of this series, we will be discussing how songs and their lyrics often enable harmful behaviours.

Featured image credits/TheConsentWorkshop

Damilola is the HBIC around here. Don’t tweet at her @damdamxx 

ICYMI: How to use your male privilege to be a better ally in the fight against gender-based violence 

Stream Ictooicy’s most adventurous project yet, ‘Lavish’

Posted on by The Native

The biggest difference between Ictooicy and other aspiring new artists has always been her casual DIY approach to music. We’ve grown used to Icy baring her soul and diving deeply into head in her music, however, her latest EP, ‘Lavish’ takes a more adventurous direction and positions her as a soft-voiced rapper who knows how to party; “You know me I like to party/ Find me where the drinks are plenty”.

On the 4-tracks of ‘Lavish’, Ictooicy rhymes over pillow-soft instrumentals of electric guitar riffs, synth-pop samples and trippy beats produced by Pan and Lexis and Chris. Fasina and 234Jaydaa feature as guest vocals on the title track, “Lavish” and “Shadows” respectively, and with each song, they contribute perfectly to Icy’s gentle tale of romance.

Some of the tracks on ‘Lavish’ highlight the problems she has noticed with her relationships, with particular details to the effects it had on her emotions. With sharp hooks, and thoughtful lyrics, her voice is as dreamy and charming as the backing instrumentals, and throughout the project she shows off significant artistic growth all round.

Listen to the EP below.

Featured Image Credits: Twitter/ictooicymusic

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ICYMI: Ictooicy talks about using music as her escape for her NATIVE Exclusive

The Consent Workshop presents #21 Days of Consent

Posted on by Tami Makinde

It can be hard to keep up with the rapid pace of events unfolding during lockdown. The past week has been particularly difficult as black communities around the world, and particularly in the US, battle to dismantle the institutional racism, which has resulted in the loss of innocent lives.

It seems as though injustice all over the world is being tackled, as here in Nigeria, we’re also experiencing an uproar, following the loss of life to gender-based and sexual violence (Let’s continue to say their names: Uwa, Jenniffer, Barakat, Farishina, Azeezat, Peace). This has led to a number of women around the country, rallying behind one another, and sharing their sexual assault and also a general consensus for society to drop harmful beliefs that contribute to rape culture.

The battle against sexist and misogynistic beliefs is an ongoing one that we must not relent on, as long as we have leaders and lawmakers in positions of powers harbouring perverse and outdated knowledge of rape and rape culture (see: ‘men are not wood’). All across our social media timelines, Nigeran women are speaking up; telling stories which would typically be silenced, and they are being presented on the center stage for all to see. Since the police and law enforcement are hell-bent on victim-shaming and typically take sides with perpetrators, we must take matters into our own hands and clean up the streets by changing the casual attitudes towards sex and a woman’s autonomy.

To this end, our friends over at The Consent Workshop, have risen to action and are calling for a #21DaysofConsent digital campaign which will start from today. These twenty-one days will be dedicated to having these hard and uncomfortable discussions about the systems and practices put in place to propagate rape culture as well as addressing the myths and facts that surround them.

Speaking to the NATIVE, founder Uche Nelo explained that:

                                               “For about 2 years now, The Consent Workshop has been actively educating the community on the different elements of rape culture. Devastated by the horrific sexual violence cases garnering attention, we at The Consent Workshop believe its the best time to collaborate, strategize, and address the sexual education gap that exists in the country. There’s a rotting problem.

As an organization, we want to provide Nigerians, the preventative resources, and tools for the community to make more positive healthy decisions. We hope this campaign is a start to de-normalizing rape culture in Nigeria as we know it. Rape culture has its foundation in our systemic and cultural beliefs. This campaign aims to start the conversations that reverse this.

Featured image credits/TheConsentWorkshop

Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_

ICYMI: The need for institutional reform in light of sexual assault laws in Nigeria

Here’s how to support the family of late Uwaila Omozuwa

Posted on by Tami Makinde

This week has been one of the toughest we’ve had all year, and every corner of the internet is filled with reports of people dying from the grave and perverse injustices. Here at home, we’re waging war against those who wish to rid women of their bodily autonomy and render them lifeless over their wicked and selfish desires. Over the weekend, we heard about the brutal assault and murder of two women: twelve-year-old Farishina and twenty-two-year-old UNIBEN student, Uwaila Omozuwa.

 

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In the wake of this news, we have all taken to social media to bring to light the rapists and assaulters, in our midst, across a range of industries in Nigeria. Like clockwork, the victim-blamers were ever ready to derail the conversations and dissect these women baring out their traumatic stories. Not only is the belief that women’s lived experiences can be debated, analysed, and questioned pervasive but it is also counter-productive as no efforts are being made to offer any working help to the survivors in question.

Well, not today, gender equality and sexual-based violence organisation, Stand to End Rape Initiative is saying. The youth-led movement founded by Ayodeji Oluwaseun Osowobi is currently accepting donations for the family of late Uwaila Omozuwa led by her sister, Judith Omozuwa. Donated funds will go towards a funeral for Uwaila and will be sent directly to her sister in order to support the family through this incredibly trying period.

This is an incredibly worthy cause to donate to, alongside the fund set up for Farishina. Creating awareness and educating the masses on enthusiastic consent and respecting bodily autonomy is a great step, but so is putting your money where your mouth is and donating to notable causes like this, as even though it can never fill the void for them, it makes life a bit more bearable for them at the moment.

You can make online donations here.

Featured image credits/

Tami is living in a black mirror episode and can’t seem to wake up. Tweet your fave female artistes at her @tamimak_

ICYMI: Here’s how to create a #FreshStartforFarishina

Here’s how to help create a #FreshStartForFarishina

Posted on by Dennis Ade Peter

The last few days have been disorienting, to say the least. Reports and accusations of sexual violence and police brutality have dominated the news cycle and pervaded our social media timelines. While these heinous acts and a copious amount of truly despicable reactions are a reflection of the harmful, retrograde ideals of our society towards women, the only positive is the sense of duty many have shown in this bleak period, through protests and pulling together to support victims.

In the spirit of social responsibility, there’s an ongoing financial campaign for Farishina, a 12-year old girl who was sexually assaulted by eleven men. Organised by Jola Ayeye and Feyikemi Abudu, hosts of the ‘I Said What I Said’ podcast, the campaign is to provide wholesome support for Farishina so that she has better chances at recovering from the traumatic event. Donated funds will be used in setting up a trust fund that will take care of Farishina’s medical bills, cover counselling and therapy, pay for as much of the rest of her secondary school education as possible, and supply her family with staple foods for as long as possible.

The campaign has options that ensure anybody can donate in Nigeria and from anywhere in the world, and you can access them via the dedicated website. Currently, creating awareness on the repulsiveness of sexual violence is important, however, opening up our purses and donating to notable causes like Farishina’s financial campaign goes a long way in dismantling the effects of these acts. We still have some ways to go in reforming a system that enables rape culture and doesn’t provide adequate justice or protection for victims, but the least we can do is to be as helpful as possible in whatever way possible

[Please, donate here.]

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A FEW THINGS YOU CAN DO TO HELP DISMANTLE GENDER-BASED VIOLENCE AROUND YOU

The youth of Oworo are planning a silent protest to ensure Justice for Tina

Posted on by The Native

A few days ago, we learnt about the fatal shooting of Tina Ezekwe by a drunken police officer at Iyana Oworo. Since then, people have expressed their disgust at the police and demanded that the officers responsible for shooting and killing the teenage should be brought to law.

To take this further, The Oworonshoki Youth Forum, Oworonshoki art Forum and other communities have now set Thursday, the 4th of June as the date for a “peaceful demonstration” to seek justice for Tina.

Given the current state of affairs all over the world, which is bringing about a general unrest, it will come as no surprise that we are no longer standing for any kind of oppression anymore, especially when it results in the loss of precious and innocent lives. Contributing our voices to decry police brutality on social media has helped raise awareness, as well as highlight the need to be more proactive in our fight to gain justice for those who have been affected.

The epicentre of Tina’s unjust murder will be marked by the peaceful demonstration which kicks off tomorrow at 11 am. Please find all the details above. Those interested in joining the peaceful protest are advised to wear black T-shirts, gloves and masks to prevent the spread of the virus, while we demand justice and grieve the loss of life.

We are working closely with the Oworo Youth Forum to find ways to support Tina’s family in any way we can. We remain committed to our responsibility to shed light on these instances, and use our platform to fight for change, all the time. Please find details of the protest below:

Featured Image Credits:
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You are meeting Debola at a strange time in his life. He wandered into a dream and lost his way back. Tweet at him @debola_abimbolu

ICYMI: Here are some self-care tips for people struggling this week

The need for institutional reform in light of sexual assault Laws in Nigeria

Posted on by The Native

WARNING: This story contains discussions about sexual assault 

Being a one of the oldest, and most-widespread crime we have in society, one would think humans society would have developed a fool-proof method of verifying rape allegations, shaming and punishing sexual offenders, and eradicating this barbaric act from our society. Yet the topic of assault remains rife, shrouded in controversy and at times with more protection for perpetrators than victims. There is detailed literature on the psychological toll rape has on its victims, the difficulty victims have in seeking help, revealing it to their families, and the burden of proof of the criminal act always being on the woman.

Approximately six out of every ten Nigerian children experience some form of violence, and one in four girls and one in ten boys being victims of sexual violence according to UNICEF. In a 2014 National survey, 25% of Nigerian women surveyed between ages of 18 to 24 years had experienced sexual abuse prior to age 18, with only 5.0% of that group seeking help, and 3.5% receiving any help.

Over the past week, two violent cases of gross sexual assault have drawn our collective attention to this scourge in our society; the violent gang rape of a twelve-year-old, and the rape and consequential murder of 22-year-old Uwa Omozuwa. In addition to this just being flat out horrible, reliving the experience can prove torturous ordeal for survivors, whilst making other women feel even more unsafe than the last time they heard about someone like them being defiled. 

Although societal attitudes are very different to what they used to be, the hope of finding justice is extremely discouraging, as the Nigerian law and it’s enforcement make convictions of these heinous acts infrequent and nearly impossible. Between 1973 – 2019, Nigeria recorded 65 rape convictions with sentences ranging from 1 year and a few strokes of cane, to life imprisonment and death penalties. Half of these convictions took place between 1973 – 2015. 

Legally, rape in Nigeria is defined as non-consensual sexual intercourse, however, the statutory laws applied in several states, including Lagos, explicitly states that rape cannot take place in a marriage, and focuses mainly on penetration, neglecting other forms of assault.

Often, child victims are too ashamed to share their experiences, and even if they wield enough courage to expose the truth, it might backfire and cause them lifelong trauma. The threat of shame often leads to families suppressing or disregarding the allegations, which is scary, as culprits are often trusted members of the community, and are often people who the children are left in care of, such as parents, relatives or even a teacher.

Understanding personal boundaries, the effects of one’s actions and steeper deterrents sends a clear signal against sexual assault in our society. It’s also important that in addition, we should ensure to make little changes to our immediate environments, such that it doesn’t seem so far fetched for the law and other structures put in place to protect us actually do. The law is built upon societal attitudes, and if the people don’t feel like it’s important enough, there’s nothing pushing the law to act upon it. Worldwide society is built upon the pain and suffering of women, and given this, it’s systems are usually set up to the benefit of men.

On a more technical note, sustained efforts are also required in the healthcare sector, in terms of providing rape kits in all medical centres across the country, as these form both immediate aid to distressed victims and serve as an immediate means of documenting cases of assault.  This is why it’s also extremely important to empower and support organisations which are set up to help and provide counselling to victims and rigorous sensitization at the community level, such as The Consent Workshop, Stand To End Rape, WARIF and many more, which will hopefully encourage more survivors to share their stories, and hopefully rid our streets of these horrible perpetrators.

Nothing I have said in this piece is new information, however, we all have a responsibility to lend our voice, and also help through our actions help build a safer society for all. There’s still a lot of room for improvement in dealing with sexual misconduct. For every public case of sexual assault, there are thousands more which go unreported and are repressed in the memories of the affected. The fight against sexual assualt is global, but its perpetrators are local members of our neighbourhood, and as such, our communal behaviour and societal values could easily mark the difference between building a safe and free environment for all, and harbouring deadly criminals.

Featured Image Credits: Web/ NPoPC

ICYMI: Ayodeji Osowobi’s “Stand To End Rape” Initiative to Create Nigeria’s First Federal Sex Offenders Registry

How you can use your male privilege to be a better ally against sexual violence

Posted on by Dennis Ade Peter

This past weekend, we all witnessed something truly unique and despicable: An accused person providing evidence of his predatory role in a rape accusation, under the guise of exoneration. Apart from this, what was really heart-wrenching, was that a significant amount of people bought into the conceit behind his story, and sadly reaffirmed the staunchly ridiculous ideals that prevail in our society when it comes to sexual abuse issues.

Usually, when victims of sexual assault name and shame their abusers in disturbing detail, the alleged perpetrators take cover under the pretext of “innocent until proven guilty”, either waiting out the outrage until everything is swept under the rug or responding with (empty) threats of legal actions. This is all while counting on the support of a society who condones their alleged behaviour, over the wellbeing of the people they have caused great harm to. In the case of Tife Fabunmi – a young Nigerian corper and talent manager (according to his twitter bio) who was accused of rape by his ex-girlfriend – he relied on that same support while pushing the ledger for the audacious lengths accused people can go to in order to clear their name.

In a Twitter thread narrating the events and aftermath of the sexual encounter, the bombshell is a series of chat screenshots where he admits to noticing the pain on his ex-partner’s face and hearing her cries for him to stop, however, he still kept going because she didn’t physically push him off. Like clockwork, there was—and there still is—an overwhelming amount of support in favour of the abuser. As disappointing, disorienting and disheartening as it is, this reaction isn’t unexpected, it’s what you get with a mix of purity culture, misunderstanding of basic sexual consent, and the general lack of care for women in society.

Due to the deeply patriarchal nature of our society, sexual abuse and harassment, which should be black-and-white issues, are often treated with a heightened level of obnoxiousness and scepticism towards victims, simply because the perpetrators are more often than not, men. In a society which demands that men dominate the order of the day, coupled with the widespread idea that sex is an activity a woman participates in and a man takes pleasure from, it’s not that hard to see the foundation of rape culture in Nigeria—and generally, Africa.

Built on that foundation, is the disgusting dynamic between entitlement and shame, where one gender can be flagrant about what they do in pursuit of and also during and after sex, while the other gender is expected to be sexually timid and submissive or face derogation. It’s important to be aware of this relationship because it plays a key role in male support and female shaming whenever there are any sex-related allegations. In the aforementioned case, it’s absolutely shameful in 2020, and also telling that the lady has been ridiculed for travelling between states and engaging in ‘pre-marital’ sex, amongst other things.

It’s also worth noting that unlike other popular figures who have recently been accused of sexual assault, the guy in question is being supported simply because our society only values the truth when it’s interpreted through the archetypal male lens, at the expense of those who have been offended. To cap off this unevenness, a lot of men are – or pretend to be – oblivious of this advantage, and refuse to add any positive value in the quest to overturn the culture of enabling and victim shaming.

A notable instance of this ignorance is the now popular saying, “not all men”, a needless and aggravating rhetoric which tries to absolve guilt, but only ends up distracting from the conversations around forward motion for gender-based violence. It is quite odd that in a society where women are often looked at as representatives of their gender rather than individual people, men often baulk at being defined by the atrocious crimes perpetrated by their fellow men.

As much as many men don’t want to be saddled with the casual cruelty that’s associated with our gender, what’s far more pertinent, is that men NEED to be better invested in changing a culture which enables their role in sexual assault and harassment without consequences. This is in a bid not just to change perception, but most importantly because it’s a human rights issue we should all be deeply concerned about.

If the first step is becoming aware of our privilege, the next is to unlearn and relearn. Due to the way we were raised and what we were (not) taught, many of us have imbibed ideals about sex and communicating with women in a way that’s harmful and degrading to ONLY women. A dedication to swapping mindsets for the better is important to realise that something as seemingly trivial as catcalling is fundamentally wrong, and sexual consent is far simpler than it is complex.

Beyond its personal effects, unlearning and relearning trickles down into how we interact with friends and those around us when related conversations come up. While broader social media platforms make it difficult to put these ideals into proper context, discussions in more intimate spaces affords an avenue to educate friends and change any harmful stances they might harbour. In knowing better and helping those around us to know better, it creates a ripple effect which increases awareness and ensures that men are more intelligible and empathetic when it comes to cases of sexual violence.

In recent years, the current generation of young Nigerian women have shown that they will not be tolerating sexual assault and harassment. They have been protesting, assisting victims and finding ways to tackle these issues in a country where the law seems geared toward protecting offenders. Nigerian men need to become a bigger part of this fight, and not be the centre of it. Unravelling the societal constructs which enable our gender to do horrid and downright unspeakable things to women will only go faster with the addition of our efforts.

No woman deserves to be assaulted, harassed and widely shamed when they share their difficult stories. Getting that into our minds and the minds of others around us is when we’re creating a better place where men aren’t synonymous with danger. Until then, we should accept that change is a communal onus which belongs each and every one of us, and the work does not stop until these acts stop being a part of our societal fabric. It’s not enough to not be a perpetrator, we must also fight alongside women in order to create a safe world for them to just exist the way we do.

[Rest in peace, Uwa Omozuwa.]

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Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter

HERE’S A FEW THINGS YOU CAN DO TO HELP DISMANTLE GENDER-BASED VIOLENCE AROUND YOU