Meet Oscar Ekponimo The Nigerian Allievating Hunger With His App

At 11, Oscar Ekponimo would stare down the empty fridge and pantry in his home, hoping for a meal to miraculously appear for him and his siblings. His father had lost his job after a debilitating stroke and his mum’s nursing job earned a paltry salary that could only  substantially feed the children once every other day. His only consolation then were his mother’s words telling him their predicament was temporary.

Now at 30, Oscar has created an app to prevent other children from suffering through the same problems he did at 11. His app Chowberry, a cloud-based application addresses the problem of food waste and hunger by linking stores to orphanages/NGOs. As food items near their expiration date, the app initiates discounts that grow larger as the items remain unsold and alerts local groups and NGOs to take advantage of the discount. The app also informs the users when supermarkets are giving away free food thus saving food that would have gone to the trash for orphanages and needy families.

In a recent interview, he revealed that his team of four completed a three-month pilot involving 20 retailers and fed around 150 orphans and vulnerable children. “Our system helped [orphanages] cut down on their spending by more than 70%,” he says. He also revealed his biggest challenge so far is the reluctance of get bigger stores to adapt his app due to red-tape policies.

Despite the challenges the app faces, Ekponimo revealed he can’t imagine a different life for himself. “I had several job offers from big [technology] companies over the past few years,” he says. “But Chowberry is what I am passionate about and find fulfilling. I want to see it grow and continue to benefit people’s lives.”

Interested individuals can volunteer for to work with Food Drive, another Chowberry-inspired initiative where he and other volunteers collect products within a week of expiry and distribute them to orphanages and homes for the elderly.

Featured Image Credit: Farmer’s Weekly

Two Nigerian Women Just Built An App To Help Freelance Writers Get Paid

Try not to cry after watching Johnny Drille’s gloomy video for “Wait For Me”

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Singer-songwriter Johnny Drille, has come a long way from his days on MTN’s project fame to bagging a record deal with The Supreme Mavins Dynasty. “Wait For Me” , a pre-signing single he released last year has now been turned into a debut official music video for Johnny Drille.

“Wait For Me” is an alternative folk-inspired song that speaks of lovers in a long distant relationship. Johnny Drille’s accompanying video tells the sad story of a couple who are torn apart by the circumstances beyond human control. Johnny Drille sets off to war in the most typical romantic-drama manner, while his lover waits for him to return.  But things don’t exactly turn out like you’d expect.

Don Jazzy’s imprint SMD once again shows wiliness to allow artists take creative risks. “Wait For Me” is set through a melancholic emo filter and a dark ending that sees Drille bawling over the death of his lover.  The narrative of a solider coming home to meet devastation is an inversion of the “dead solider lover at war” theme,  common in love stories. The video builds on Johnny Drille’s  flirtation with the  soft rock groups like Passengers and Coldplay have made popular over the years.

Watch Johnny Drille’s “Wait For Me” directed by Mex Ossai (Mex Filmz) below

Featured Image Credits: Youtube/MavinRecords

Mavins dynasty gets a facelift with new signings

Listen To “Hold On” by Iyanya

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Don Jazzy’s signing of Iyanya last year earmarked the producer’s expansion efforts for the Supreme Mavin Dynasty. Many may have questioned Iyanya’s decision to ignore a potential indie entree and remain under a label after his MMMG debacle with Ubi Franklin, but the Project Fame alumnus seems to be settling in just fine at his new management and creative head quarters. Last year he tapped Don Jazzy and labelmate Dr Sid, for “Up 2 Something” , a musky slow-grind-worthy single hinting fierce comeback. On Iyanya’s latest single “Hold On”, the singer returns with his usual brand of edgy Afropop, sprinkled with the right amount of vague sensuality and crooning melody.

Listen to “Hold On” below:

Featured Image Credit: Youtube

Supreme Mavin Dynasty unveils three new artists

Watch Brenda Adigwe’s Debut Music video ‘Stand!’

https://www.instagram.com/p/BRWAfG_j89O/?taken-by=brenda.adigwe&hl=en

Brenda Adigwe didn’t make it past the final four on last year’s first season of The Voice Nigeria, but the vocalist inked a record deal with Universal Music Group and released a debut single, “Stand!” anyway.

The accompanying video for the newcomer’s single was directed by Matt Maxx who matched the vibrant energy of Brenda’s “Stand!” frame for frame. Brenda herself comes to life in her video as she dances with reckless abandon. If the 21 year old’s textures and colours are indicators of anything, Brenda may evolve into a vessel for the kind of good bubblegum Afropop we all expect Di’Ja or Yemi Alade to make.

Featured Image Credits: Youtube/BrendaAdigweVEVO

 

Watch captivating Asa’s captivating performance for rape victims

Praiz features Wizkid and Kenny Lattimore on two new remixes

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To celebrate his birthday, Praiz’s label X3M music has released two remixes of his pre-released singles, “Body Hot” and “Heartbeat” featuring Wizkid and American singer and songwriter, Kenny Lattimore respectively.

The original “Body Hot” is an Afropop detour from Praiz’ usual RnB, featuring rapper Jesse Jagz and dancehall singer, Stonebwoy. For the remix, Wizkid takes on the beat with confidence and expert fluidity that comes from years and years of honing his skill. This is a second collaboration since both artists collaborated on, “Sisi” , off Praiz’ Rich and Famous double album.

Listen to “Body Hot” remix featuring Wizkid here

And “Heartbeat” remix featuring Kenny Lattimore

Featured Image Credit/ Instagram: @officialpraiz

Listen to Riton’s “Money” featuring Davido, Mr Eazi and Kahlo

Here’s What You Should Know About The International Women’s Day Global Strike

This year, women across the world are celebrating International Women’s Day with a day-long strike, to protest inequality and woman rights amongst other core gender issues.

Sarah Leonard, spokesperson for the strike says the strike tagged “A Day Without a Woman”, will focus on “broadening the definition of violence against women”. In addition to protesting domestic, sexual and physical violence against women today’s strike is also focused on rejecting the “systemic violence of an economic system that is rapidly leaving women behind.”

Inspired by two strikes last October, one that successfully quashed a Polish parliament bill banning abortion, the other a protest condemning violence against women and girls in Argentina. Organizers in more than 50 countries have coordinated the day with a variant of strategies including strikes, rallies and other gatherings that parley with the cause.

As a result of criticism that the previous Women’s March marginalised non-white minorities, the strike’s organisers have created guidelines for women in solidarity who might not be able to take time off by not shopping today. However if shopping is totally unavoidable, supporters should only shop at “small, women- and minority-owned businesses” and wear red in solidarity.

Not many Nigerian women have touted their support for the International Women Strike and in a patriarchal society like Nigeria, its not very unsurprising. Funnily though, the global event takes me back to Government class in high school, particularly the infamous Aba Women’s riot of 1929 and how history will do well not to subvert the stories of women who stood for something and inspired others to do the same. Ultimately, the win for this strike will be how history will re-tell their efforts in ensuring a fair and just world for women.

Rivisit Milck’s Woman March Anthem “We Won’t Keep Quiet” below

Featured Image Credit: Oxfam.org

Check Out The Highlights of The Past Women’s March Here

Klu’s ‘Triple Threat 2’ EP just dropped and it’s an impressive showcase

KCMG rapper King Klu’s been one of the more prolific artists on the label releasing music approximately every other week in 2017. With his laid back flow with understated punchlines that hit you after the last note has played and an preternatural ability to body any genre, it is a mystery that Kings Capital Music Group (KCMG) his home label hasn’t put the money into a proper LP with all the works. But at least they’re rectifying that with a series of EP’s featuring the artist.

You’re So Beautiful, his first 18 track EP dropped in January  and while it has so many great singles, 18 songs is just too much music to put out without any promotion, and many of the songs never made it off Soundcloud rotation into the mainstream. KCMG is retracing their steps and doing things right this time around with a second EP Triple Threat 2. Right off the bat you can tell that a lot more thought went into the conceptualization of this EP, Triple Threat 2 only has three singles, each a completely different genre from the last.

Promises produced by ClassixsBeats rides on the current Afro-trap wave artists like Wizkid and Davido have brought to the mainstream, he is a juggernaut, riding the beat with the experience of veterans. Trails and Vultures produced by RoboDruma takes on afro-futurist Neo soul with a persistent bass riff like a spine that grounds a wandering island melody. Klu gives us his best Drake-esque sung rap, occasionally dipping into pidgin and twi when English doesn’t quite convey the emotions he needs to pass on. RoboDruma also lends his production chops to Wait No More, the last of the album’s trifecta that pays homage to classic 90’s hip-hop with a simple piano melody and stripped down percussion. Klu is at his most earnest here and his earnestness is infectious. The song ends with you motivated as fuck.

The world is ready for a King Klu album, we’ll settle for the Triple Threat 2 ep for now, but KCMG need not waste a good thing.

Listen to Triple Threat 2 here.

Listen to Klu’s ithinktheboyisgreat, our new swag anthem

KCMG assembles an impressive roster for ‘More Shit’

Ghana new rap movement has distinguished itself by its willingness to collaborate, to meld minds and produce work that is more than the sum of it’s parts. This insistence on community instead of the petty rivalries that is normally associated with hip-hop is a welcome direction and Ghana’s acts have always been forebears for African music. Ghanaian label Kings Capital Music Group (KCMG) is at the heart of Ghana’s hip-hop movement and they’ve assembled the most impressive roster of hungry mc’s for their new single more shit.

The line up includes King Klu (who’s made more than one appearance on our site), Jean Feier (who single we featured here), Abladzo Kwadme, Too Fresh, Jae Ghost, Bebelino and Kwame Jhosef with word play that covers the gamut from indigenous rap to chi-town rapid fire punchline ala Andre 3000. The accumulations of 16 bars racks up an impressive 7 minutes in total and every second of it is fire. Jean Feier’s verse is something to watch out for, she truly holds her own in all that testosterone with a punchline that lull into a sense of complacency before they hit you with an unexpected punch to the gut.

If this isn’t a case fro more rap collectives, we don’t know what is.

Listen to ‘More Shit’ here.

Listen to jean feier’s Recipe

Look Out For Eme Ikwuakor In Upcoming TV Series ‘Marvel’s Inhumans’

The classic Marvel comic series, Marvel’s Inhumans will premiere later this year on ABC and among the actors with key roles in the film is Eme Ikwuakor, who will play the role of Gorgon. His character was described on Marvel’s site as Black Bolt’s cousin, member of the Royal family, and leader of Attilan’s military. Gorgon is described as a fighter who would rather use his fists (and hooves) than talk to solve his problems.

The Nigerian-born actor will join the previously announced Anson Mount, who will play Black Bolt, Iwan Rheon, who will play Maximus the Mad, Serinda Swan, who will play Medusa, and Ken Leung, who will play Karnak.

On Marvel’s official statement, the head of television Jeph Loeb Showrunner stated “We’re thrilled with this cast. Eme, Isabelle, Mike, Sonya and Ellen round out an incredible array of talent that will finally bring the Royal Family of the Inhumans to IMAX and ABC”.

Eme has played other roles in the past on Concussion, the American sports drama and Halle Berry’s sci-fi thriller Extant.

Marvel previously announced the first 2 episodes of The Inhumans will screen in IMAX theaters on September 1, with the show set to continue on ABC on September 26.

Featured Image Credit: Empire Online

Luvvie Ajayi’s “I’m Judging You” Set To Become Shondaland’s First Comedy Series

Listen To L.A.X Synth-Heavy Afropop Love Song “Stay With Me

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The true test of an artist’s ability is linked to versatility and over time, L.A.X has explored a variety of sounds within the Afropop sub-genre. Earlier this year, he released “Big Daddy” a braggy synth-based Afrowave song. On his most recent release “Stay With Me”, producer, Lekka’s wavy synthesised strings are layered over drums and cymbals.

Though he’s yet to release his debut project, L.A.X is experimenting with genres and finding a niche for his sound.  “Stay With Me”, attempts to balance sensuality with his childish candour as he alternates between declarations of love to loud brags typical of his Yoruba-influenced brand of Afropop.

L.A.X announced this “Stay With Me” with a caption suggesting it had the wherewithal to improve sexual performance. You can confirm this fact or delusion by yourself by listening to the song below

Featured Image Credit: Izzlax/Intagram

Listen to L.A.X’s New Single, ‘Big Daddy’

Watch a Spell Binding Performance Of Asa’s Survivor Anthem, “Moving On”

Though unstated, Asa celebrated the first day of international women’s week yesterday with the release of a video for her performance with a 60 piece orchestra at the Simphiwe Dana Symphony Experience last November. There is no doubt that Asa performed a full set but asides from her spell binding rendition, the choice to upload this cut from her set is directly linked to the song’s core subject matter.

“Moving on” is the fifth track from Asa’s bed of stone album. On the song, Asa sings of a dark event that causes her to run and hide but she also details how she’s moving past the trauma of it all. It’s vague, but Asa’s metaphors unmistakably fits the description of rape and abuse, and a survivor’s attempt at forging on with a semblance of a normal life.

The imagery of the performance stays true to the song. The all black Orchestra playing behind Asa who strolls the stage in a white flowing dress conveys the message of hope in spite of pain from the past. The world’s cold reaction to the theme of rape and suffering is also expressed through the blue lights illuminating the entire stage.

Asa addresses a core woman struggle in our patriarchal society in the most poetic way she knows. The performance was effortlessly graceful and builds the narrative for women all over the world trying to make the best of their situations.

Watch Asa’s performance of “Moving On” below.

 

Featured Image Credits: Youtube/Asa Official

 

Celebrate women’s week with Native

Watch Wande Coal’s Fantasy Gangster Video For “Ballerz”

https://www.instagram.com/p/BPAlWOggqC6/?taken-by=wandecoal&hl=en

After a long awaited album that failed to meet public expectation, Wande Coal is looking to redeem his past glory. Late in 2016, he released “Iskaba” and “Ballerz” two singles produced by DJ Tunes and Maleek Berry respectively. His most recent effort is the release of the video for “Ballerz” a glossy 50s styled gangster video, set in a private bar where money speaks volumes.

Though his pimp daddy persona might be a tad problematic given how it subtly implies sexual exploitation, great costumes and chrome lights give the video a cinematic tone, perfect for the Nigerian pop and R’n’B don narrative, Wande Coal has pushed since the release of his Wanted album in 2015.

Watch Wande Coal’s video for Ballerz here

Featured Image Credit: Youtube

Revisit Wizkid and Wande Coal’s Sinfully Underrated “For Me”

Watch Runtown’s Live medley on The Compozers’ Encore Studio Sessions

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Runtown was invited to perform on The Compozers’ latest Encore Session, a live recording usually done for instrumental covers and reworks of pre-released singles. Their attention over the years has moved from hip-hop to the Nigerian Afrop-pop genre with re-fixes of “Surulere”, “Soke”, “Woju” amongst others. Runtown brought his energy for a live rendition of “Lagos to Kampala”, “Pain Killer” and late 2016 summer hit single, “Mad Over You”.

Runtown’s presence in the studio gave the performance life and The Compozers’ deft touch on the instruments gave a dynamic feel to all the fan favorites re-worked during the jam.

Watch The Compozers’ first Encore session of the year featuring Runtown here.

Featured Image Credits: Instagram/@Runtown

 

Listen to TMXO’s refix of Jon Bellion’s “All Time Low”

The Shuffle: Justina’s “Omo Too Sexy” has aged like fine wine

The mid 2000’s had more than its share of musical one hit wonders. Perhaps it was because the industry was in the middle of it’s second incarnation, the quantum shift from the rebel-tinged music of the Plantashun Boiz and the Remedies, artists so surprised that they could pull Nigerian audiences that they never really stopped being underdogs long enough to become legends and the commercially driven jollof music superstars of the 2010’s.

The casualties of this move were mostly female pop stars inspired by Beyonce and Rihanna, Katy Perry and Lady Gaga and looking to replicate their success here. While most of the music these starlets made were very much of their time, a few have proven well ahead of their time. None, however, have been as prophetic of our contemporary sound as Justina’s “Omo You Too Sexy”.

Justina made her name as the second runner-up in 2006’s Nokia First Chance reality singing contest. She worked on music, releasing “Omo You Too Sexy” in 2008 and a video for the song in early 2009. “Omo You Too Sexy” ticked a number of firsts; it was the first overtly sensual Afro-pop songs by a female singer, long before Tiwa Savage released Kele-Kele Love and changed everything. She was also the first female Afro-pop startlet to subvert the male gaze, actively pursuing the subject of her desire. Then there is the sound. Before Justina, Nigerian pop starlets tended to sing entirely or largely in accented english. She was the first to properly embrace pidgin as a medium in her music, a trope the male artists had all but adopted by 2009 when the song was released.

“Omo You Too Sexy” was instant hit, and though Justina tried to replicate the success of the song with follow up singles The Morning After, Radio DJ and So Tempting. It has stayed the biggest hit of her career.

Listen to “Omo You Too Sexy” Here.

The Shuffle: Revisit Shank’s Julie

AV Club: Bariga Sugar is a masterclass in subtlety

“My mummy has plenty friends… but me I don’t have any friends.”

Many kinds of women have been portrayed in Nigerian cinema but none has been more poorly treated than the sex worker. In a deeply religious country like ours, with its influence spread across all spheres of existence, including creative ones, sex work is villified. Classic films like Domitilla defined sex work as the exclusive preserve of the greedy and the wayward, and sex workers as ungodly. In the years since, sex work has become a plot point, a twist thrown in to give a flailing film some edginess, a trump card filmmakers rarely touch unless they can use it as a contrast to purity. The complexities that define sex work and the realities that sex workers have to live through to survive are rarely told with empathy, grace or even distance from personal prejudices and predispositions.

While sex work is misrepresented in Nigerian cinema, the sex worker at least is represented. This representation sadly doesn’t extend to the people directly affected by sex work, the partners and children of sex workers. It is on this premise that filmmaker Ifeoma Chukwuogo and writer Ikenna Edmund Okah build their film Bariga Sugar. 

Ese, the ten year old daughter of sex worker Tina lives in the ghetto Brothel Bariga Sugar. Played by Halimat Olarenwaju with skill that you’d expect from someone far older, she brings Ese to life. Ese navigates the world with an avian curiosity, tempered with a weariness that comes from persistent rejection. As the pre-adolescent child of sex worker living a brothel, she is old enough to understand that her mother Tina is a pariah by virtue of her work, but young to be traumatized by the rejection she receives because of her affiliation to her. She is withdrawn, content to spend her days sitting outside her mother’s room, passing the days while her mother ‘entertains’.

When Hanatu, a new sex worker moves into the brothel with her ten year old son, Jamil (Tude Azeez). Ese suddenly finds herself the recipient of attention. It takes her a while to warm up to the bubbly Jamil, and never truly engages him till he is bullied and taunted by street children because of his mother’s sex work. It is only then that both children really find they share identical experiences and become inseparable. A misunderstanding between their mothers, threatens to end the children’s friendship and a tragedy reunites them, the price of which is almost too much to bear.

While the children are the real revelations of Bariga Sugar, the film really is more than the sum of its parts. Tina Mba’s stellar turn as the brothel madam, Madam Sugar helps ground the film in reality, proving yet again that the veterans of Nollywood still have a lot to give. Re Olunuga’s understated original score provides the fragility that reminds us, in spite of the harshness of the ghetto and the bleakness of the children’s reality, that these characters represent people with vast internal lives. Even the vintage radio advertisement that plays in the background in the first few minutes of the film, and the ambient sounds that follow help transport you to the decade in which the film is set and allows you  fully immerse yourself, staying with you long past the film’s 26 minutes.

When the Bariga Sugar’s big tragedy happens, you are simultaneously expectant and completely blindsided. It helps that there are no villains in the end, only women and children disadvantaged by a system that let’s them fall through the cracks. The lessons are subtle but they’re impossible to ignore.

At the end of the film Ese is where she was when it began but she is essentially changed. The viewer is too, which is all a filmmaker can ask for.

 

Watch Bariga Sugar here

Celebrate Women’s Week with The NATIVE

On Wednesday March 8th, the world will unite in celebrating the social, economic, cultural and political achievements of women. The day also marks a call to action for accelerating gender parity, per IWD. Here at The NATIVE, we strongly believe that this is a conversation that needs to be had, especially surrounding women in the creative industries in Africa.

For far too long, the success of women in the African music industry has been downplayed by the presence of a male figure in their lives. From Sasha P in the Storm Records heyday, to the early 2010s pop dominance of Tiwa Savage, there seems to constantly be an overbearing patriarchal figure, quick to take far too much credit for doing a comparatively minuscule job. During this week, we aim to highlight the women in music, style and the communities that surround them, that are breaking ground and making up their own rules as they do so. Whilst it is somewhat easy to fall into the trap of elevating women simply to fulfil some sort of pseudo-moral criteria, it is pivotal that any artist is only championed because of their talent and message, regardless of their gender.

At The NATIVE, we are committed to accelerating gender parity, but not just in a obligatory box ticking way: there are numerous African women doing amazing things in the creative industries that need to be highlighted, and we are intent on doing so.

We Can’t Ignore What Happened Last Night on Big Brother Nigeria

Best New Music: Niniola’s cunning lover likes sex games on “Maradona”

One of the tasks op-ed writers and editors covering Niniola will face in the coming years is how to properly classify her type of music, without skewering important facts or reducing her artistry to one trifling detail. Between her post-Project Fame debut “Ibadi” and last year’s sleeper hit, “Shabba”, Niniola has morphed through a range of African styles with EDM accents. Even now, her latest single is a mile apart from what we last heard from her on the Afro-juju-inspired first track off Legendury Beatz’s Afropop 101, “Kini” .

“Maradona” opens mellow, with Sarz’s signature multi-layered house music groove and a simple baseline. Nini comes in after a stop-and-snare with a loose metaphor about her lover’s slipperiness and multiple trysts with different women. She wants to be upset with him but it is impossible, even as she knows that he only comes to her at night time after a long day of philandering. The reason is obvious by the start of a sultry refrain vividly detailing her lover’s dominance in the bedroom, complete with subtle references to fellatio and violent orgasms. It sounds like the type of hazy conversation you have with that one person your body can’t say ‘no’ to, no matter how sound your mind, head and heart is.

“Maradona” is not an unusual song, it’s just an oddly composed one and in a good way. Sex is a taboo topic in Nigeria like many other African countries, and it is especially even worse for women who are expected to ascribe to certain moral values. Though Niniola obscures some of the details with a sly sublet of Yoruba language, she doesn’t shy away from the lewd directness and specificity that gives “Maradona” all of its intended risque and edginess.

Listen to Niniola’s “Maradona” below

Check out last week’s Best New Music “One Call Away” by Legendury Beatz and Maleek Berry

We Can’t Ignore What Happened Last Night on Big Brother Nigeria

Two months ago, twelve young adults entered the latest edition of the Big Brother Nigeria household, thus forfeiting the rights to their time and privacy in exchange for the chance to win  ₦25 million and an SUV, as well as the usual 15 minutes of fame associated with this sort of exposure. We won’t dwell on the morality of their decisions and the fact that in the history of the Big Brother franchise in Africa, there has never been a more sex-positive cast, to the point that some have even petitioned for the show to be banned despite the fact it is already an age restricted adult show. What we will note, is that the housemates were unafraid to pair up and engage in consensual sexual activity – presumably for ratings – but also, as one would expect in any restricted premises full of adults for am elongated period of time.

What was not consensual however, were the events that happened in the early morning of March 5th 2017. Kemen, the self-proclaimed “fitness entrepreneur”, sexually assaulted fellow housemate TBoss whilst she slept. In what was clearly a premeditated attack, Kemen waited till he thought the cameras in the house were off and for TBoss – who he had been romantically pursuing unsuccessfully all season – to be asleep. Almost immediately, hundreds of people began to tweet directly at the Big Brother Nigeria social media handle, calling their attention to the assault and demanding that Kemen be punished. Later that evening, during the weekly eviction show, TBoss was shown the video of the assault, and Kemen was rightly disqualified for misconduct.

The statistics are terrifying: one in five women across the world has been the victim of sexual assault. When you actually compute the numbers, translate them from mere statistics to experiences that people are living with, the sheer scale of it is mind-boggling.

For every five women you know, one has had someone try to force them to have sex, or touched them in a sexual manner without their consent, or inexplicably taken a “no” to mean a “yes” One in ten women have been raped, which means you regularly interact with someone who has been raped; perhaps some casual acquaintance like the daughter of the bossman who runs the corner shop, or the server at Chicken Republic who always gives you extra ketchup, or maybe even your cousin, or sister, or mother.  There were only 8 women in the Big Brother Nigeria house and it took less than a month before a woman was assaulted.

But Kemen wasn’t the only one who assaulted a housemate. Debbie Rise, one of the latecomers to the show, waited till Bassey was asleep before forcing a kiss on him. When he didn’t reciprocate, she left, which is probably why she wasn’t punished as severely as Kemen. The widely touted myth that women are incapable of raping or sexually assaulting men likely also contributed to how lenient the people behind Big Brother were towards her, but this does not mean what she did was not a crime.

In both instances, the victims of the unsolicited sexual attention were close to their assailants and had even been somewhat intimate with them. But this doesn’t given Kemen or Debbie Rise the right to perform intimate acts without the consent of their desired suitors turned victims.

What this means is that as a younger generation of Nigerians, we need to teach ourselves about consent. For years we have been taught that “No Means No”, and that we should stop when our partners explicitly tell us no. But consent has evolved beyond that. Consent is not simply the presence of a “No”, it is the absence of a definitive “Yes”. If your partner is not willing and actively giving you verbal and/or non-verbal consent, you need to stop whatever you are trying to do.Whilst every situation is different with varying contextual details, there is no grey area between yes and no: we have all been taught this from a young age. You must be equally agreeing to whatever sexual act you both are engaged in for it to be consensual, and that consent can be withdrawn at any time. No one owes us their bodies or their consent. It must be given freely.

 

For those still struggling to understand the difference between Yes and No, watch the video below.

AV Club: We’re at the halfway point of OBFW and charles is still the worst

Top 7 Ghana-Nigeria Collaborations of All Time

While it is possible that Nigerians are still sore that Ghana became an independent nation while the country  was still under British rule, over the years artists from both nations have come together to make some of the best music from the African soundscape.

Regardless of the Mr Eazi beef, music has been the one thing both nations agree on. This list does not only intend to celebrate Ghana’s  60th independence day, it’s also a way to share happy memories we’ve had over the years. Without further ado, here are our picks for top 7 Ghana-Nigeria collaborations ever.

 Two Women (feat. VIP) – Tony Tetuila

https://youtu.be/ctv1x4P8FfY?t=11s

Tony Tetuila featured Ghanaian hip-life group V.I.P on 2 Women” off his 2006 Free Soldier album. “2 Women” listens like a loud bar conversation among four guys trying to have a good time out despite inherent personal relationship problems. It reminds us of the simple times before the jollof wars, when the idea of hombres from both countries bantering over girl problems didn’t seem entirely bizzare.

 

Skin Tight (feat. Efya) – Mr Eazi

Mr Eazi took advantage of his Nigerian nationality and Ghanaian upbringing to create  “Skin Tight” alongside songbird, Efya, a decorated singer and songwriter from Kumasi, Ghana. “Skin Tight” is a lovable feel good track that enjoyed airplay in both nations. This collaboration was among the collection of singles that helped push his music to Nigeria and ultimately all around the world.

My Love (feat VIP) – 2Face

Many may be unfamiliar with this little detail, but 2face and VIP’s cross-border collaboration was directly inspired by an old Jamaican folk song popularized by Harry Belafonte’s “Jamaican Farewell”. The loose instrumental arrangement and light weight subject matter fits perfectly into the ambiance of songs so distinctively mood based that they sound a lot better when you are within the context of its intent. For “My Love”, there is a distinct Afro-Caribbean vibe that yearns for a modest escape like going on a vacation or a having an independence day yard cook-out with your loved ones.

Kiss Your Hand (feat Wande Cole) – R2Bees

 

After the success of his M2M album, Wande Coal hit the road to tour, make press appearances and seek new inspiration amongst other things. His stop at Ghana led to the birth of his cult favorite ‘Ghana freestyle’ and the release of an official single loosely borne of his impromptu freestyle. “Kiss Your Hand” was timely for the group R2Bees because it came at a time when everything Wande Coal touched was gold. The single was largely responsible for R2Bees crossover into the Nigerian mainstream, and is perhaps one of the first proof of potential for modern African music through Ghana Nigeria collaborations.

No Kissing Baby (feat Sarkodie) – Patoranking


Patoranking’s ability to consistently churn out quality Afro-pop hasn’t gone unnoticed. “No Kissing Baby”, his number one single featuring Ghana’s Sarkodie makes for great dance floor music and silently tackles the issue of consent in male and female sexual relations. Over preppy drums and a groovy baseline inspired by Ghanaian Afropop, Patoranking sings of a lover who rejects his advances and his gentlemanly desire to only take whatever love she would freely give without forcing her hand. At a time when the subject matter of rape culture is being tackled more openly among young people in African societies, Patoranking and Sarkodie’s “No Kissing”, inadvertently lends a voice to devastating social ill that needs all the attention it can get.

 

Daddy yo (feat. Efya) – Wizkid

Wizkid is on to greater things these days. “Daddy Yo”, his first single since working on Drake’s Views album is an EDM-tinted club heater featuring Ghanaian singer and song writer, Efya. There not much for content on “Daddy Yo” but if anything, it proves that Ghana-Nigeria collaborations will work on any level; local or international.

 Slow Down (feat Wizkid) – R2bees

It should be no surprise that R2Bees gets a second mention on our list. Their 2014 collaboration with Wizkid on “Slow Down” ear-marked the beginning of an extended public relationship between the group and Starboy (a friendship that culminated their joint set up of Starboy records with Padae as its head). “Slow Down” is calm and was probably the first indication of the progression Mr. Eazi, Runtown and Tekno amongst others towed with their brand of Afro-pop – with simpler production and focus on vocals.

See which Nigerians got nominated for Ghana Music Award ”

‘Suddenly’ by Jemimah is one of the strongest debuts we’ve seen

Nothing excites us more here at the Native Mag than young artists taking risks that advance their crafts, especially when they do it early in their careers. It is even more impressive when it is a female artist and when their dedication to the craft is put before commercial viability. This is why Jemimah Ugen’s debut single ‘Suddenly’ is so interesting; it’s a confluence of all these things.

Ugen is relatively unknown in the music industry but it turns out she has put in the work in the years leading to now. She also has uber talented producer Atah Lenell Otigba (who has produced some great songs including the critically acclaimed debut album by Lindsey Abudei) lends his production and songwriting talents to the song.

A classic guitar driven ballad that works to the best of Jemimah’s strengths; her vocal proficiency and distinct timbre and easy on the ears melody that flits along from the first note to the closing chords. She sings of unexpected love and the beginning throes of a romance. As an introduction to who she is as an artist, she couldn’t have had a better calling card than ‘Suddenly’. We hope the song gets major airplay and brings her the attention she deserves.

Listen to Suddenly here.

Watch clips from Kazeem Kuteyi’s Pathmakers documentary

Nigerian Canadian filmmaker Kazeem Kuteyi came to Nigeria in the summer of 2015 with an idea on his mind. He planned to make a short documentary chronicling the creative and personal lives of young Nigerian creatives forging new paths in their respective fields. As a creative Nigerian in diaspora, he had begun to hear the first strains of homegrown talent making a name for themselves internationally. But the stories he often heard about them were either incomplete or skewered through a western media lens, taking out all the nuance and cultural influences that inspire these home based artists. He decided to do something about him, take on the project of properly telling these stories himself.

It took him a few months to find the subjects for his documentary and record their interviews and after post production Kuteyi was forced to shelve the project due to financial constraints and the Nigerian network for which the documentary was produced refusing to pay for the project. Kuteyi turned his time to other projects including the digital platform New Currency which Kuteyi co-founded, that profiles independent artists across the world, curating their sounds and influences and deciphering their inspirations and motivations. New Currency has also curated a number of offline events to connect followers of the project with the artists that the project has profiled.

Two years later Kuteyi has decided to put out clips and outtakes from the documentary so we can experience the greatness that he immortalized on tape and share in the very distinct vibe he was able to capture. The ones we’ve seen so far, featuring fashion merchandize expert and stylist Funmi Fagbemi and graphic designer/photographer Niyi Okeowo are must sees.

Watch them here.

Niyi Okeowo.

Pathmakers – Niyi Okeowo from Kazeem Kuteyi on Vimeo.

Funmi Fagbemi

Pathmakers – Funmi Fagbemi from Kazeem Kuteyi on Vimeo.

Featured Image credits: Kahlil Hernandez

Watch Seyi Isikalu’s short film, ‘Monochrome’