Omawumi and Kiss Daniel come for haters on new single, “Me Ke”

For her first single since her stellar album, Timeless, Omawumi presents us with “Me Ke”, song filled with the same confidence that makes her music so acclaimed. For “Me Ke”, the singer teams up with our often controversial fave, Kiss Daniel and they share a pleasant chemistry as they perform a playful, yet assertive set.

https://www.instagram.com/p/Bg3BfHrhZ2y/?hl=en&taken-by=omawonder

“Me Ke” opens with Omawumi doing a cheeky laugh before she begins singing—perhaps aimed at the haters she has been proving wrong and intends to continue chastening with her growing success. She refers to the anti-fans who thought she’d end up a one-hit wonder at the beginning of her career, “Some People Say She No Go Reign Again, Same People Go Change Their Mouth Again”. But if their words had no effect on her then, imagine how insignificant they are now when she doesn’t need their approval; “I’m Not Your Mate”.

Kiss Daniel echoes Omawumi on his verse, leaving a message assuring his haters that his hard work will continue to pay off with or without their approval; “Mama never taught me how to be lazy”. On the final verse, both singers get a little more comfortable in their cockiness as Kiss Daniel sings “Everywhere I Go They Put the Music Repeat, No Be Lie, I’m Doing Good”, while Omawunmi repeats the hook reemphasizing that she is, in fact, not her haters’ mate.

Stream “Me Ke” featuring Kiss Daniel here:

Featured Image Credits: Instagram/omawonder


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The Bumplist: Lady Gaga, Asa, Ray BLK and 6 other women you should check out this week.

Tiwa Savage, Reminisce, Slim Case and DJ Enimoney’s “Diet” is not the anti-drug abuse song it’s presented to be

Terry G’s marijuana inspired “Free Madness” may have been the biggest song on radio when it was released in 2008, but Afropop never fully exulted in the culture of prescription drug abuse till recently. Olamide’s “Science Student” helped provide some much needed attention to the phenomena with its anti-drug abuse campaign, made clear through his succinctly directly music video. But “Diet”, Tiwa Savage, Reminisce, Slim Case and DJ Enimoney’s new single only offers vague commentary.

While all three artists seem to be endorsing thriving on a codeine diet, the chorus says to “Slow Down, On A Codeine Diet”. With lines like “Saint Sami Posh! Saint Sami Ganja” guaranteed to sound cool regardless of context,  most of the lyrics probably have no meaning beyond the obvious club tropes.

Or do they? Olamide’s “Science Student” was initially written off as a promoting drug abuse till the video set the record straight, so it’s fair to allow Tiwa Savage, Slim Case and Reminisce the benefit of doubt. After all, they are the culture and deserve whatever scrutiny or wild mass guessing is borne upon them. Clarence Peters directs the video using quite a number of digital effects to covey the druggy theme of “Diet”. Starting from seemingly endless slow-mo shot of people falling, to bodies shattering into a purple cascade when they hit the floor, to the shot of DJ Enimoney holding up a codeine bottle tagged ‘Say No To Drugs’ and appears to have Slim Case trapped inside.

Admittedly, these are too deliberate to be ignored for their anti-drug abuse imagery, but the rest of the video just depicts a party atmosphere where everyone is having a good time dancing to the Sarz produced beat. And yet, it’s feasible that the song and the video is a reflection of addicts’ struggle deciding if they have an issue with substance or not. That’s the type of fakedeep thinking that makes for great art as they create a social commentary by using the drug abuse culture to lampoon the drug abuse culture.

Watch the video for “Diet” below.

Featured Image Credits: YouTube/Tiwa Savage


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ICYMI: Olamide’s “Science Student” is not the problem, conservative society is

6 videos you should see this week

Charles Okocha – I Paid My Dues Meme

https://www.instagram.com/p/BgiyvYynSfH/

Like Jesus for the Christians, cartoons for kids and alcohol for—well—everyone, we all need a clutch to lean on when times get tough. And it often does with the insurgency in northern Nigerian and the normalized kidnappings. Our only hope of endure this increasingly nightmarish world we live in is to enjoy the hell out of the few, fleeting good moments that happen in between waves of shit. Fortunately, popular comedian, Charles Okocha’s absurdity hits those twin elements of escapism and relatability that defines current zeitgeist. His latest skit running around the streets dramatically demanding “Some Accolade, “I’ve Paid My Dues, Y’all Should Acknowledge Me” is the funniest thing you’ll see today and for a while yet with the meme already circulating on the internet.

LadiPoe – “Double Money (No Limits Freestyle)”

Some songs don’t get the appreciation they probably deserve till another artist takes it on and makes it their own. Just as Drake’s remix of Migos’ “Versace” did a couple years ago, the newer version draws out the original’s complexities in ways you that were initially noticed. In other cases like Ladipoe’s take on G-Eazy’s “No Limit”, the first version is already compelling, but by re-imagining it, the perspective is broadened as the song takes a different direction from the original. Over the synth heavy Allen Ritter and Boi-1da produced beat, LadiPOE’s delivers “Double Money” spitting loose fitting bars that suggest it’s a freestyle. But between brags about wealth and his influence, he gets a word in on M.I’s “You Rappers Need To Fix Up Your Lives” saying “Publicity Rap If It’s Good Advice/ But Truly Some Rappers Taking A Piss/ You Fathers Zip Up Your Flies”. The recently released music video is directed by Director Lekan & Xela who show Ladi Poe riding around in a Benz.

Wale – “Staying Power”

On the heels of his Complicated EP, Wale just put out the video for “Staying Power” where he reassured fans of his deft lyrical abilities and took shots at his doubters, Atlantic—his former label—and his competition. The Chris Hernandez directed video is however more lighthearted as it shows the DC rapper riding around his hometown in a red convertible and having a good time with friends. Phyno, Chief Obi and members of his Every Blue Moon team join him in the clip but after spiting angry bars through the 4-minute length of the song, the video ends with Wale tossing his cigarette angrily at the camera.

Sugarboy- “Chop” Feat. YCee

Kiss Daniel’s exit from G-Worldwide Record label took all the headlines and somehow, Sugarboy’s new position as the label’s front-line artist flew under the radar. But not for long as he releases a brand new song, “Chop” featuring YCee with a sexy video to match. The mid-tempo Afropop song finds both artists professing their feelings for a love interest and Clarence Peters directs the video, placing them on a beach setting that allows YCee revive the nostalgia of his “Omo Alhaji” days through the Arabian-esque models and dancers.

Royce Da 5’9 – “Boblo Boat” Feat. J Cole

The video for Royce Da 5’9 and J Cole’s new single, “Boblo Boat” off Royce’s forthcoming album, Book of Ryan is everything you expect from the two rappers; Reflective and soulful. Much the like song, the J Cole directed video plays out like a memory as we watch some group of kids riding through the night, robbing a liquor store, drinking, then breaking into an amusement park. They eventually get chased out when they get caught by the park security while Royce and J Cole perform the song under the colorful neon lights at the same amusement park. “Boblo Boat” reemphasizes the narrative Royce intends to take on his forthcoming album, Book of Ryan with the introspective storytelling. The album is set for a 4th of May release date.

Marvel Knights Animation – “Black Panther” Episode 1

“Black Panther” has done well in the box office, breaking records to become the first movie this decade to top the box office for five weekends in a row. Though the Marvel hit was eventually unseated by “Pacific Rim: Uprising” last weekend, there’s no denying that the movie deserved all the hype and fanfare from the trailer and perhaps some accolades at the coming Academy Awards for the film. We’ll see how that goes next year, but in the meantime, Marvel Entertainment just reissued the animated “Black Panther” series. The graphic novel style animation might take some getting used to,  but anyone who has seen the Marvel movie knows the story-line more than makes up for it.

Featured Image Credits: YouTube/Marvel Entertainment

Yxng Bane’s latest single, “Vroom” is a bop with a cool video to match

Is the dancefloor a place to have a good time or stunt on other dancers? Yxng Bane knows it’s both and more and for his latest single, “Vroom”, he harnesses Afropop’s compelling melody and relocates it to the gritty underground music scene in UK. Though there’s a hint at romantic theme, most of the song finds Yxng Bane bragging about his successes; “Pulled Up Looking Like The UK’s New Age Rockefeller.”

KLDVR & G FrSH shoots and directs the video for “Vroom” in Printworks, a large warehouse-like venue in south London that used to house the Evening Standard printing press. Showing Yxng Bane and a few models performing with a car as prop, Bane told Noisey in an article that his aim of the video was to bring the same energy he had in recording the song in the studio to life.

Watch the video for Yxng Bane’s “Vroom” below.

Featured Image Credits: YouTube/YnxgBaneVEVO


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ICYMI: Watch Yxng Bane’s video for “Corner” here

Watch Wizkid, Terri, Spotless and Ceeza Milli’s music video for “Soco”

Released earlier in the year to the wide acceptance typically expected from anything with a Wizkid cosign, “Soco” finds Wizkid, Terri, Spotless and Ceeza Milli singing an ode to love over the mid-tempo beat Northboi produces. While Wiz brings a pseudo-spiritual spin on the chorus singing “Eledumare Bless You With Body oh Baby oh/ StarBoy Go Bless You With Money oh Omoge oh”—basically ‘God’s Plan’—the video shows all three artists performing in a collapsed building with an artistically satisfying set design incorporating African print designs.

Asides the few exceptions like Lagbaja, Dare Art Alade and maybe Runtown’s “Mad Over You” video, Afropop isn’t exactly known for its artsy imagery. But since Wizkid released the first video for “Come Closer”, we’ve come to expect nothing less from the Starboy. One likely explanation is his distribution deal with RCA and his increasingly global audience as he seems to take extra care to embellish his music videos with traditional elements as seen in this Clarence Peters directed video for “Soco”.

Watch the video for “Soco” below.

Featured Image Credits: YouTube/StarboyTV


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ICYMI: Wizkid confirms he has a new album in the works

Sauti Sol remember their day one fans on their new track “Rewind”

Sauti Sol has had quite a productive year. So far, they have released three songs from their forthcoming album title #AfrikanSauce, all featuring stellar Nigerian artists from Patoranking to Tiwa Savage to Burna Boy. Their most recent release “Rewind” is the fourth from the album we are getting more excited about it with every new single release.

On the self-produced track, Sauti Sol takes a break from making the kind of dance-floor tracks that have aided their meteoric rise, to remember their day one fans. On their official twitter release, the group thanked their fans, saying “This one is for our day ones. Y’all have watched us grow to become who we are today. Catch a vibe and spread it all around the world”. 

The group and the featuring artist, Ghana’s Khaligraph Jones spend the time on the track appreciating the fans who were with them before the fame and glory and everything in between. “They never know the story/of us before the glory/i’d do it all again/I wish we could we just rewind” they sing, as the video runs through clips and photos from “before the glory”.

Watch Sauti Sol’s  “Rewind” here:


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Sauti Sol release “Afrikan Star” off their fourth studio album featuring Burna Boy

WSTRNS “love struck” is the realistic, dark depiction of love we like to see

Love is a beautiful thing. Or so everyone claims. Nobody seems to have an explanation for the sinking feeling in your belly when you think about ‘the one’. What does ‘the one ‘ even mean anyway?

Whether you’d rather stick with the little child flying around on ropes (which must be super uncomfortable by the way. Child labor much?) shooting darts version or the realistic, can hurt sometimes to look at the object of your affection and realise that they or you might never be enough, we love love.

WSTRNS’ “love struck” featuring Eazi and Tiwa Savage is them recounting how they all feel when they are in love. With a performative dark and broody video, all the artists pull major vibes to the song, making the idea of losing all sense of right and wrong where one person is concerned, all the more endearing. Tiwa Savage somehow manages to make the show all about her, what with the ‘I’m cool enough to make you want to learn to shaku-shaku vibe’ and we do get a peek at the Eazi we loved before social media told us we had to pick sides based on principle.

Watch “love Struck” here;

These kids in Rivers State are being taught to code for free amidst soot blanket

TeenCodersNG has very well got the building of the true, well-adapted leaders of tomorrow underway with the introduction of free coding classes to all the public schools in Rivers State. The feat makes Rivers state the first in Nigeria where an organization has independently launched a free coding program for public schools, encompasses both the primary and secondary sections.

CodeForSchoolsNG, an initiative of TeenCoders, is out to ensure that every child in school, (especially pupils in public schools in low income, grassroots communities) will learn how to code a computer, the same way they learn Mathematics, English and other compulsory subjects that are fast becoming feudal.

With the aim to make coding an elementary level subject in Nigeria, CodeForSchoolsNG sources funding for the project from individuals and organizations while the computers for the project were provided by the state government.

With 12% of all job openings and 16.3% of all new wages in the developing world being in computing fields according to TeenCodersNG, it’s important for Nigeria to get in the league with other nations who have come to the realization that computer science is increasingly foundational to all 21st-century careers.

But for Lagos State who is currently implementing coding into the curriculum of Upper Primary and Secondary Schools, no other State is offering to code to kids in the lower primary level.

While organizations like TeenCoders move to build the next well-rounded generation, Nigeria does need to pay attention to all that soot plaguing the air in the Garden City before there’s no cancer free citizen to move the Nation forward.

Is DriveHER, the female-only ride sharing app the way to go?

Ride-sharing services are as convenient as it gets; no doubt. Any service that provides comfort without you having to break a sweat will always be a win if we’re being honest. With services like Uber, Lyft and Taxify, you can get pressing work done – whether it’s fool proofing that proposal or tensioning the gram, while someone else figures out traffic navigation.

But undeniably, with every good thing, there’s almost always a snag. Snarky drivers, rude riders, drivers who’re looking to shake you down for more than the ride is worth (this is probably peculiar to Lagos), drivers who prey on defenceless female riders, it’s a long list of cogs in the system.

Since the inception of ride-sharing in Nigeria, there has been repeated accusation of physical and sexual assault, with female riders being the predominant victims of these crimes. Intended to provide comfort, a lot of female riders find they have to be hyper alert and armed to defend themselves should their designated driver morph into the wolf in grandma’s clothes.

In a bid to protect women from sexual assault from predatory drivers, an all-female ride-sharing service has just launched in Toronto to give women who feel uncomfortable getting into taxis or ride shares driven by men a new alternative.

Company founder and CEO Aisha Addo says she came up with the idea for DriveHER after enduring one too many uncomfortable taxi rides with male drivers.

Citing an incident almost every woman can relate with, Aisha had a driver who started out friendly, but then began asking her more and more uncomfortably intimate questions and she ended up having to call a friend to stay on the phone with her until she got home. DriveHER looks to cater to women who have gone through something similar, or who didn’t have anyone to call, or who are constantly worried what might happen if they fell asleep in the back of a taxi.

With 85.1 percent of drivers within the taxi industry being male, DriveHER is hoping to effect change by using female drivers who have undergone a screening test and background check. The company never uses surge pricing during busy periods, instead uses a flat rate to keep fares affordable. A plus, because we’re already hyped to pay whatever the cost of keeping a stranger from asking if you have a boyfriend or are going to see ‘your guy’ is.

Men will be allowed to use the service, the company says, but only if they are accompanying female passengers and if the driver is comfortable with it.

It’s unsurprising that this service, recently launched and operational in some parts of Canada has already come under attack from men who claim it’s divisive and sexist

https://twitter.com/gaferna/status/974064980956930048?s=21

While they look in from their high chairs and contribute their privileged two cents, we’ll be rooting for the company’s success and the come up of similar brands.

Featured Image Credit: Web/SheLeadsAfrica


Mariam is (insert pretentious stuff about myself here). Share your thoughts with me @MA_Y_M


19 people on women who have influenced them

Listen to Ajebutter22 and BOJ’s “Yawa” off their upcoming collaborative project

BOJ and Ajebutter22 have announced that they are working on a joint EP. Though the date or title have not been released, we are keeping our eyes peeled because going off their previous works together on hits like “Omo Pastor” and “Pretty Girl”, and their personal projects (both singers have released excellent bodies of work in the space of a year), these two know their way around a hit song. “Yawa”, the first official release from the project, offers hints as to what to expect when they eventually release the EP.

https://www.instagram.com/p/BgmD4OxFyuc/?hl=en&taken-by=ajebutter22

The combination of the mellow beat Sax produces and the singers’ suave vocals may lead you to think BOJ and Ajebutter22 are about to drop friendly lines on “Yawa”, but the opposite is the case as they come for their competition. Over synth-based beats, BOJ and Ajebutter22 display their readiness to fight anyone that fucks up. While BOJ sings the hook saying “Cash me outside, if you fuck up na yawa”, Ajebutter22 shares a similar energy, rapping, “I was doing good boy, I was being polite/ About to change over like they took the light”, both indicating that they’re done trying to please and ready to square up.

Listen to BOJ and Ajebutter22 and BOJ’s “Yawa” here:

Featured Image Credit: Instagram/ajebutter22


“Tomiwa is figuring it out…” Tweet at her @fauxxbella


“Best New Music Album Special: Ajebutter22 – “What Happens In Lagos”

Hear CDQ and Kiss Daniel on new track, “Gbayi”

In the four years since Kiss Daniel broke into the music scene with “Woju”, the singer has released back to back hits and a critically acclaimed album debut, garnering massive support from fans. So much support that when he eventually parted ways with the G-worldwide label under somewhat sore terms, his career barely took any dent. He continues to enjoy the spotlight and fanfare for each release under his self-owned Flyboy I.N.C label, where he can now work with whomever he deems fit, a limitation allegedly stipulated in his last contract.

https://www.instagram.com/p/BgrNOi3n7hU/?hl=en&taken-by=cdqolowo

On “Gbayi”, Kiss Daniel performs a brief verse interpolating lines from Wizkid’s “Don’t Dull” before delivering the sexy chorus praising a love interest’s backside. It’s the perfect aside you’ll expect from a wing-man while CDQ proceeds to promise things he’ll do to get his lover’s affection.

Listen to “Gbayi” by CDQ and Kiss Daniel below.

Featured Image Credits: Instagram/cdqolowo


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


Kiss Daniel’s “4 Dayz” video is beautiful but it still leaves questions about his gender politics

Listen to Fancy Gadam’s ‘Yaka Chana’, Featuring Mr Eazi

“Yaka Chana” translates to ‘where are you going’ in English. Over the Dr. Fiza-produces beat, Fancy Gadam asks his lover “Where You Dey Go” at intervals, as he sings of an unfaithful affair, featuring Mr Eazi, who takes the role of an adviser sharing wisdom on how to spot deceit.

The video for Fancy Gadam and Mr Eazi’s “Yaka Chana” continues in line with the song’s narrative. The video displays a couple who start of in love but end up in a series of arguments that ultimately end the relationship, while Fancy and Eazi play the role of storytellers. “You Told Me You’ll Never Leave Me”, Fancy sings in the background while we see a distressed woman sat in a bedroom by herself, perhaps trying to understand how the relationship took this turn.

Watch the David Nicolsey-directed video for “Yaka Chana” here:

Featured Image Credits: YouTube/ Fancy Gadam


“Tomiwa is figuring it out…” Tweet at her @fauxxbella


Watch Mr Eazi’s Music Video for “Pour Me Water”

Hear “In Love And Ashes”, an original soundtrack by 2Baba for an upcoming TV series

Watershed Entertainment, has released the first look at their upcoming TV series “In Love And Ashes”, to be aired via NTA and EbonyTV starting at the end of the week.

“In Love And Ashes” focuses on the insurgency that has plagued North Eastern Nigeria for almost a decade. According to the statement released by the production company, “It is a tale that highlights the social, humanitarian and moral challenges that bedevil communities and their inhabitants that have experienced violent extremism in northeastern Nigeria”. 

Set in Maiduguri, the eight-part series will attempt to depict how different ethnic groups can work together to fight terrorism and it’s root causes. The show stars Patience Ozokwor, Charles Etubiebi, Nafisat Abdullahi, Sani Danja, and other notable Nollywood stars. The producers are also “confident that [the] drama series will further raise the level of awareness and moral consciousness of all Nigerians to participate in the recovery and rebuilding process underway in northeast Nigeria”.

https://www.instagram.com/p/BgvojKaAfhz/?taken-by=in.love.and.ashes

To offer more perspective on the show’s message and perhaps help raise awareness, the producers have released the show’s soundtrack by 2Baba with the same title. Produced by Kelly Handsome, 2Baba’s “In Love And Ashes” begins with Xalam strings that situates the song firmly in its context for North Eastern Nigeria, the region the song focuses on. Like the show, the general crux of 2Baba’s song is tolerance and togetherness.

Listen to 2Baba’s “In Love And Ashes” here:

Featured Image Credit: Web/Watershedentertainment


“Tomiwa is figuring it out…” Tweet at her @fauxxbella


The Dapchi girls have been returned but the government still have some questions to answer

Virgil Abloh announced as Louis Vuitton’s new art director

Ghanaian-American DJ and fashion designer, Virgil Abloh, has been announced as the next artistic director of men’s wear at Louis Vuitton. Abloh, who is the founder of street-wear fashion label, ‘Off-White’, is taking over from Kim Jones and is expected to debut his first collection with LV at the fashion week taking place in Paris this June.

https://www.instagram.com/p/BgxgBxEA0E5/?hl=en&taken-by=virgilabloh

Though Abloh has isn’t exactly new to the spotlight having worked as Kanye West’s merchandise and art creative director and adviser, he expressed his gratitude for the opportunity to work with Louis Vuitton. In an interview following the announcement, he said: “It is an honor for me to accept the position of men’s artistic director for Louis Vuitton. I find the heritage and creative integrity of the house are key inspirations and will look to reference them both while drawing parallels to modern times” 

The CEO and chairman at Louis Vuitton, Michael Burke, is just as thrilled to have Abloh on board, having also worked with him over a decade ago. “Having followed with great interest Virgil’s ascent since he worked with me at Fendi in 2006, I am thrilled to see how his innate creativity and disruptive approach have made him so relevant, not just in the world of fashion but in popular culture”, Burke said in a recent statement.

While Burke believes Abloh’s keen eye for luxury fashion will bring authenticity to the label, “His sensibility towards luxury and savoir-faire will be instrumental in taking Louis Vuitton menswear into the future”, it will be interesting to see how the designer, whose streetwear brand has collaborated with Jimmy Choo and Nike in the past, will merge streetwear fashion with Louis Vuitton’s usual menswear inclination.

In his interview with New York Times however, he established his intention to continue running his personal brand concurrent as he described the disparity between both brands with target markets. “[Off-White] is for the 17-year-old version of myself, whereas Vuitton is for the 37-year-old I am today”. He also intends to continue working with Kanye and moonlighting as a D.J. when he can.

Featured Image Credit: Web/FAQD


“Tomiwa is figuring it out…” Tweet at her @fauxxbella


OrangeCulture’s international debut is a win for Nigerian menswear

Mayorkun and Davido are bringing back a sorely missed ‘R&B-singer-in-the-rain’ sexy on new single, “Bobo”

After hinting his debut album is currently 80% done, Maryorkun has released a brand new single with Davido titled “Bobo”. Produced by Lush and KillerTunes, “Bobo” firmly places Mayorkun in his all too familiar romantic feels as the singer continues to provide more emotional transparency and depth with his discography.

https://www.instagram.com/p/BgyN7P5hsp8/?taken-by=iammayorkun

Over the sweeping percussion, synths and drums, Mayorkun highlights his emotional woes with a love interest who’s more about the money than misty feelings. Using clever metaphors, his layered falsetto and perhaps some real-life experience as inspiration, he gives an explicit reflection of the hurt from falling for someone out of your league. And with a guest verse from Davido, the story feels complete as the label boss takes us through the other side to Mayorkun’s heartbreaking story; It’s the sort of alley hoop that made the duo of Dwayne Wade and Lebron James so remarkable.

The detailed songwriting on “Bobo” affords Clarence Peters the convenience of turning towards subtlety and precision for the video’s direction, borrowing inspiration from familiar R&B music video tropes. “Bobo” opens with Mayorkun solemnly staring at Polaroid frames of a lover, in a brightly-lit bedroom that conveniently takes a minimalist red hue at the emotional chorus. Elsewhere Mayorkun bumps into his lover on a date with his future self, who clearly has the financial comfort current Mayorkun doesn’t. It’s a creative twist to the typical scene where the singer runs into a trifling lover cheating, only here the mirror is a picture of a potential to come. Cuts featuring Davido also carry a distinctly R&B touch that shows the OBO, forlorn and making his way through an oblivious crowd in slow-mo. And you can already bet Clarence Peters iced this cake with a rain scene.

Watch the video for Mayorkun’s “Bobo” featuring Davido below.

Featured Image Credits YouTube/DMW HQ


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: “Che-Che” is a well earned win for Mayorkun’s year-long slow burn in 2017

Listen to Cassper Nyovest’s new single, “K’Sazoba Lit”

Where hip-hop goes, consumerism and materialism are hardly far behind, and Cassper Nyovest’s new song, “K’Sazoba Lit”  stays on course. True to its meaning, ‘It’s going to be lit’, “K’sazoba Lit” has Cassper talking about his come up, designer labels and of course the horde of women that come with all the bills he now has to blow up. Somewhere between declaring his assets and putting hating ass niggas in their place, Cassper throws in a bit of what we assume is hardcore rap since it’s in an indigenous language.  Cassper however, doesn’t leave his inner circle out of the ‘lituation’ on this song, although this is hardly surprising since he’s themed all of the singles he’s to put out this year ‘Gang Music’.

Listen to “K’Sazoba Lit” here:

Digital footprints and why you need to stop telling the internet everything about you

Propaganda has taken various forms over time. During World War II, it was through Hollywood films that Americans were “encouraged” to “support the troops”. The films released during this time had powerful themes that not only encouraged Americans to fight, but also fueled the hatred Americans felt towards Nazis and the Japanese at the time.

The digitally-boosted era of Big Data, as it is often called, has made the influence of the media on how we perceive the world more distinct. Organisations can now use data gathered from browsing history, age, gender, location, and other data to tailor propaganda to specific people. Facebook, for example, curates our feeds so that we get more of the stuff we “like”. Instagram, Snapchat and Twitter have also reviewed and updated their algorithms to further streamline how content is assimilated on these platforms. Considering that these are some of the top news sources in this era, this matters quite a lot. Just a few years ago, Facebook and Twitter were hailed as tools for democracy activism, which suggests that activists can use this tool to skew user’s opinions but the opposite is also true. As Samidh Chakrabarti, Facebook’s Product Manager for Civic Engagement said:

“Social media’s impact on democracy it’s that it amplifies human intent — both good and bad. At its best, it allows us to express ourselves and take action. At its worst, it allows people to spread misinformation and corrode democracy”

This is not a quote out of a Black Mirror episode. In the last few days, news of Facebook’s involvement in propaganda that may have colluded with the American elections became public news. Facebook confirmed that in 2015, it learnt that Cambridge Analytica had collected personal data shared by users on a prediction app from Dr Aleksandr Kogan, a psychology professor at the University of Cambridge. According to reports, the data analysis company, Cambridge Analytica, worked with Donald Trump’s election team and last year’s Brexit campaign in the UK. In an undercover reveal conducted by UK’s Channel 4 news, the company confessed to skewing votes in two main ways: Spreading false information and using personal data gathered from information shared on social media to manipulate action.

More reports on The Guardian UK’s Cambridge Analytica Files series revealed that Cambridge Analytica’s parent company, SCL Elections, used tools similar analytical tools in more than 200 elections around the world, mostly in undeveloped democracies that the scandal’s whistleblower, Christopher Wylie, said he later realised were unequipped to defend themselves. This is not far from the truth, as Cambridge Analytica was also found to have been involved in Nigeria’s 2015 elections. The company was hired by a ‘Nigerian Billionaire’ to sway voters in former President, Goodluck Jonathan’s favour. They are believed to have been provided with data about the current president. A former Cambridge Analytica employee said they were provided with the current President’s medical records which they used for Social Media propaganda against him. The Facebook-Cambridge Analytica scandal has since been the centre point of news reportage, questioning the limits to privacy on the internet and the susceptibility of personal data misuse in a world where we willingly give our data to big corporations.

One unnamed executive confessed, “We just put information into the bloodstream of the internet and then watch it grow, give it a little push every now and again over time to watch it take shape”

The information put “into the bloodstream of the internet” is targeted at a certain group of people and continues to spread among this group thanks to the algorithm developed to help us reach content we would be interested in. Many sites offer tailored content based on data they’ve gathered or bought from third-party services— like Dr Kogan’s application used by Cambridge Analytica— to collect and correlate personal information from multiple respondents. The result is an influx of articles, content and feeds curated by information inferred from data about the personal lives of social media users. Even when the articles are diverse, users are hardly ever exposed to anything outside their frame of thinking, not if ad-targeting algorithms can help it. But even offline, this is how our minds work, we are always drawn to people who agree with us, and when these people share content with us, either in discussion or through shared articles, we find that it is hardly ever anything we won’t be interested in.

This natural tendency to keep friends within and outside the confinement of the web alters our realities more than we would realize. This reality altering one-way mirror we create in our “safe spaces” is referred to as a ‘filter bubble’. Filter bubbles make it easy for us to think the information we’re taking in is exactly how the world works, this information becomes all we have to reference when discussing with people who perhaps think differently from us. The bubble is why, at a pleasing level, you’ve probably seen that meme your friend who isn’t on Twitter is about to send to you. But the filtering, among other algorithm driven tools, is why it has become very easy for organisations like Cambridge Analytica to strengthen and also manipulate people’s opinions.

The fear when people started using social media was that strangers would find us, or our personal information would be used against us. At the time, anonymity was the selling point of most platforms “your content will not be shared with any third parties”. But this has since shifted. Your information is no longer your own. Any footprint you leave will either be used to sell you a product you may like, or used as some social experiment you won’t be aware of until it is over, or worse. As Author, Nicholas Carr, said in his book, The Shallows, “The faster we surf across the surface of the Web, the more opportunities Google gains to collect information about us and to feed us advertisements[…] And it’s in Google’s economic interest to make sure we click as often as possible”.

Breaking the cycle is difficult, mainly because our capacity to resist the manipulation is limited. To avoid leaving any redundant information, we are told to try: deleting social media accounts we’re not using and keeping settings private where we’re active, going back to forums and discussion boards we have posted on and deleting those comments. We are also advised to take time off these platforms and the bubbles our actions and the algorithm have formed.

While this may not protect us from offline interactions spawned by our individual filter bubbles, the surest way is to understand that what we see is not all there. That our realities are distorted and we need to take off the frames. We have to hop out of our bubbles, perhaps by actively seeking activities we would not normally try out and asking questions that even we are uncomfortable with.  Either way, reducing our digital footprints is probably the best way to keep our information from being possible tools of unlawfully toppling legitimate democracies.


“Tomiwa is figuring it out…” Tweet at her @fauxbella


Abducted Dapchi girls are freed; but at what cost?

Patoranking debuts in 2018 with romantic new single, “Sunshine”

After releasing the video for “Available” last month, Patoranking is releasing his first single for the year, “Sunshine”, a piano-led pre-summer love song. Over the shimmering mid-tempo drums and synths, Patoranking sidesteps his Reggae/dancehall melodies to deliver a sultry R&B number for your dancefloor fascinations.

Thematically however, “Sunshine” finds Patoranking addressing his love interest with gooey and affectionate lyrics repeatedly referring to her as his “Sunshine”. Singing “Baby, I Will Only Love You For Eternity”, his intentions may only be implied, but his feelings are expressly detailed through the length of the song.

Listen to Patoranking’s “Sunshine” below.

Featured Image Credits: Instagram/patorankingfire


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: Watch the video for Patoranking’s “Available” here

Abducted Dapchi girls freed; but at what cost?

A few weeks ago, news outlets circulated reports of the kidnapping of 110 girls from Dapchi, a remote town in Yobe on the 19th of February by suspected members of the Boko Haram. Dapchi is a small town of about of 15,000 persons and  a three-hour drive from the city of Maiduguri, where the insurgency was born over a decade ago.  This recent wave of abduction brings back flashbacks of April 2014, following the kidnapping of 276 girls at Chibok, and the persistent but exasperated #BringBackOurGirls campaign that followed to no avail.

Information surrounding the abduction was confounding at first because (as it would seem) over the past year, the Nigerian government has focused on reassuring citizens of Boko Haram’s defeat instead of actually fighting the insurgency. Even more conflicting was the myriad of contradictory statements put out in the aftermath of the attack. The Yobe state government first declared that around 50 girls were missing, but parents counted more than 100 absent. A school official then suggested to local media that many of the students had simply returned home to their families on foot and that the militants were only looking for food.

Confusion mounted when the Yobe state government confirmed that the army had rescued dozens of girls, only to issue a retraction the following day, saying that the girls had not been found or rescued. These series of events are reminiscent of the thread of reactions that followed the kidnapping of the Chibok girls; a number of whom are still missing (over 100 girls reportedly). After some of these girls were released to the federal government, albeit in small batches, the Federal Government came out to reassure Nigerians of the defeat of Boko Haram.  In the same fashion as it took the government to react to the Chibok abductions, the president only put out a confirmation and deployed forces many days after the damage had been done to Dapchi.

 

A month after the abduction of these girls, we’re celebrating the return of the abducted girls. Unfortunately, five of them reportedly died in captivity and the one christian girl of the victims is still missing. While the swiftness the government was able to secure the release of the Dapchi girls—which is commendable when compared to the Chibok situation that dragged on for the longest time and was subject to a myriad of political addendum— it isn’t necessarily the bright light at the end of the tunnel we all hoped for.

Boko Haram as an individual group may have been incapacitated by the army but when dealing with extremism, the embers flare deeper than one man or one sects name. The victims of this terror never really get justice; not all of their kids have been found, a few had already been married off and all of the displaced persons were more or less abandoned with no plans of reintegration in sight. The burden of putting a permanent end to insurgency was never really borne — or perhaps was never a priority.

However, the rot of poverty, illiteracy and disintegration — all recipes for insurgency, continue to fester in the North Eastern part of the country where the insurgency was born over a decade ago. While the threat of Boko Haram hasn’t been fully neutralised, the birth of copycat terror cells is now another major security issue Nigeria has to worry about. A Wall-Street Journal exposé suggests that the Dapchi abduction was carried out by a faction of ISIS in West Africa with strong ties to  the Islamic State commanders in Iraq and Syria.

Kidnapping as an instrument of terrorism is measured by the reach of the propaganda, crafted deliberately at a global audience to maximize media exposure for the purpose of organizational branding and recruitment. Fear, however is the weapon that’s employed here. The most impacting effects of terrorist attacks are the immediate victims who lay lifeless as a result of bomb blasts or gunfire. Other victims are those who sustain injuries and those who go home at the end of the night, taking away visions of violence, lasting memories that can have a destructive impact on people, communities, and societies for years after such an event. 

The long term public health ramifications on direct victims of the insurgency and the affected  communities as a whole are underestimated. In the case of victims of kidnappings, this fear is specifically crafted to unleash an assault of psychological warfare on the victims , that remains in place even after their release. Feelings of helplessness and fear are the most dominant impacts on these victims, from one individual to another, and permeating entire communities. With repeated, convoluted statements on the total conquest on insurgency followed by reports of attacks, Nigerians have been desensitised to the trauma and pain of coordinated terrorist activities in the country.

While boosting public confidence is an essential part of governing any area experiencing unrest, this play becomes counterproductive if false or incomplete information is what’s being dispersed. The end game of these cells is to elevate their international status by initiating state-to-state dialogue with governments. Establishing their reach of power aside, it can also be an effective political tool for discrediting coalition governments by creating scenarios where accountability can be demanded from the government for protection of lives and property. Information is crucial in today’s society and these terrorists have adapted in the best ways; random kidnappings like this send a clear message — ‘We are powerful. We pose a real threat. Be terrified and listen to us.’  If the government sets precedent by relaying unreliable information to the public, it only helps further the cause of terror. 

All these costs are results of how the government has handled insurgency in this part of the world, given that Boko Haram’s existence from time, was predetermined by an administration that refused to take the group’s activity seriously until major harm had been done.  At the cusp of global awareness around terrorism and insecurity, Nigeria needs to stop making costly sacrifices to celebrate non-victories that glorify the government of the day at the expense of human lives. 

Runtown’s second saga with Eric Many, a reflection of lessons not learnt

With very little fanfare, Eric Many Entertainment recently issued another court order accusing its flagship artist, Runtown of floundering with label obligations. This comes nearly two years after the label first demanded the arrest of the singer for colluding with his manager to scheme off performance fees among other revenues sources without the label’s knowledge. As we earlier reported, Eric Many eventually resorted to settling out of court with Runtown, but this re-occurrence between both singer and label management indicates the dust never really settled.

When Runtown’s issue with the label first hit the fan in 2016, he cited extortion, intimidation and threats to his life as his reasons for voiding his contractual obligations. The singer also claimed Eric Many Entertainment kept the books from him on payments and royalties. On the label’s part, Runtown was simply playing the victim card after pocketing revenue that rightfully belongs to the label.

But Runtown is not an anomaly to artist/label problems in 2018. Over the past three years or so, labels have struggled to maintain control of artists on their roster, a not-so-odd reaction to the rise of digital music distribution at the turn of the decade. Earlier this year, Kiss Daniel and G Worldwide records went head to head for similarly related contractual disagreements. Eric Many’s grievances with Runtown however seem to be a more of a reflection of some of the justifications artists have used to turn to independent management, marketing and distribution.

Asides rehashing the conversation about artists signing unfavorable contracts at the inception of their career, Eric Many and Runtown’s seem to be at loggerheads because neither party has made adequate allowances for the compromises agreed at their last out of court settlement. Runtown allegedly hasn’t seized circumventing the label’s revenue, but given the basis for his last contract breach, it’s safe to assume the label hasn’t successfully worked to keep their artist happy and cooperative either.

Because the management aspect of the music business is often predicated on favours and the concept of ‘divine discovery’ in this part of the world, artists are often left at the mercy of “strong men” who bankroll their careers. This contextual template is in part directly related to why record deals increasingly turn out to be a thorn in the neck of the artists, because eventually, artists grow and want to demand more for their work while label owners restrain them on a moralised and unsustainable benefactor relationship.

The coming weeks should be eventful in the unfolding of how Runtown and Eric Many entertainment will proceed as working partners. But one thing s certain at the moment; neither Runtown nor Eric Many have learnt any lessons from their last fall out that threatened to tear them apart. And they are not the only ones making a mess of how artists and labels should relate in 2018.

Featured Image Credits: Instagram/runtown


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: Read more on the problems of Eric Many and Runtown’s contract p here

Watch the video for Tinny Mafia’s “Kokoka”

At the tail end of last year, Tinny Mafia released its first official imprint single, “Kokoka”, featuring YCEE, Bella Alubo, Damilare and Dapo Turburna. Compelled by nimble production from Que Beat, the result of combining all four distinct styles turned out to be an experimental attempt at merging Nigerian street-hop and neo-R&B. It’s almost rare to see labelmates making music in solidarity in 2018, to the point of attempting to find harmony. Perhaps to show “Kokoka” was not a freak studio recording that made it to the airwaves, Tinny Mafia has released a music video to update the single.

Though “Kokoka” is sexually driven with lyrics like “Fa Lu Ya(Tear the drum)” the Yoruba lyrics and innuendos do a great job of masking them. At least enough for us to wager it’ll fly under the NBC’s censorship radar.“Kokoka” is directed by Visionnaire Pictures, who puts all four artists performing their verses in soft neon-lit rooms with some drummers and models acting as a prop for the nightlife motif of the track.

Watch Tinny Mafia’s “Kokoka” here:

Featured Image Credits: YouTube/TINNYAFIAVEVO


“Tomiwa is figuring it out…” Tweet at her @fauxxbella


The death of labels and EME becoming a media company