Category: Victor Akande

By Victor Akande

His mannerism and impaired speech could be likened to those of a drunken man; not one warped by hard drugs. His crazy mien was a spur-of-the-moment, and one could tell that Majek Fashek was a restless jolly good fellow. His sobriety occurred as sudden as his restiveness, and within that instant solemn moment was the innocent look; eye balls revealing one of the charms of his heydays – period that earned him the ‘Rainmaker’ moniker.

Like a snail feeling a strange surface, Majek’s boisterous gregariousness retreats with the appearance of a stranger. If he got kicking in the presence of a visitor, he merely chose to throw caution to the wind. I noticed he was watchful, vigilant, and mindful of everyone around. His mood changes slightly after noticing how luring I had become. We had sat closely for three minutes, and I had tried to make a sense of his gibberish tale. When he notices my nosiness, he narrows his gaze, asking: “Who are you?” Without waiting for a reply, he stands up, fetches a lighter, and lights a cigarette. “I am a journalist,” and without giving a thought to the reply, he walks away, leaving an almost empty bottle of Stout behind. When he resumes his drinking, he was done getting up close and personal.

It was a chance meeting in a Lagos clubhouse, where his then stint manager, Hajia Amina Dangaji and her entourage were to host a meeting. They had shielded people from taking pictures or having any formal interaction with the artiste, but perhaps just so, it didn’t look like he was being policed around, and the little time, away from their eyes, was my 10 minutes with the Rainmaker.

“Samuel was a servant of Elias… Ella…” he begins. “So one day, when Samuel was sleeping, God called him saying, Samuel! Samuliah! But he got afraid and ran to Elias. He said to him, ah! Dem call me o… Dem call me o, na you call me? He was afraid, he think say na juju.” Majek drifts away from the Bible story, hinting briefly on the subject of mysticism. “But juju na fear,” he says, “It’s a mind game. The third time God called Elias, he had the boldness, and so he said ‘speak Father, your son is listening,” God talks in voices. To work with God, you can be a mental man, if you can handle it. God is a spirit, and he who must worship God, must worship God in truth and in spirit.” The artiste hits the butt of another cigarette against his left arm severally before torching its tip.

“You know what? I left my house this morning… I was all-alone in my house (I wished this new line had continued)… Samuel, at last, was able to listen to the voice of God. It was Samuel that anointed David abi? I know Bible. I no wan talk…” I was lost again, struggling to align his thoughts in my head. I wanted desperately to keep a line of conversation, so I said to him: “I’m sure you understand the Bible more than some pastors we have around these days.” He takes a deep one off his cigarette and bursts into a song: “Pasito na him be him be?” he tries to sing a line of late Fela Anikulapo Kuti’s song. “Anikulapo, I will never deny Anikulapo. He was an African pastor. He was an Osa (deity)” He says, as he released some spent flame.

“Were you a Bible student at some point?” I asked, attempting to bring us back on track. “I studied the Bible while growing up,” he says. “I know the Bible, but I can’t make references.

But I studied the book of Moses. Then at a time, I went overboard. I began to read mystic books. And I had to stop.” He looks sober at this point. “Mystic book is very dangerous,” he continues. “You’ve got to go with the rules to avoid accident. The Bible is the best. Mystic books are very dangerous. They have rules, like the native doctors’ rules.”

“What’s your name?” He asks. I told him. He takes a deep breath, acting like a parapsychologist, and then says nothing. “There are several books, some can lead you astray, but the Bible will not.” He stresses with a tone of finality. Next, he talks about his next album and video. He says it is called ‘Olodumare music’. “Jah music,” he tries to interpret. He says it was a sole effort and not collaboration with any artiste.

“Pressman,” he says after a sip. “You know Nduka?” he asks, referring to the publisher of Thisday newspaper. “Tell Nduka that you saw me. He is my friend. Na him bring me nah, and Azuka na him arrange am wey dem bring Beyonce from South Carolina. Missy Elliot, Snoop dog… at a time I was afraid to stay in Nigeria because of the system. But God is wonderful, and having stayed in Nigeria for a year and half is a miracle. I didn’t know I could do it, but God say make I come. Our people are suffering. After Fela, it’s me. Fela gave me his power. King Benedict of Italian. I am the new Benedict; Gbabee!” he says, tapping me hard on the shoulder. “Awon orisa (Yoruba word for deities)… Benedict don dash me the crown. Who born their father?” he drifts again. “Fela came to meet me. He blamed me for not going to Afrika Shrine. I tell you the truth; I’m a prophet of God. Taborah de o Alleluyah… Ajajun laja ijo wa, eho iho ayo, ekorin…,” he bursts into a white-garment church Yoruba song. “I’m a Taborah boy. I’m Aladura (white garment church member) forever, he says, singing the song again and again.

By Victor Akande

With the recent announcement by Multichoice, of the fifth season of Big Brother Naija (BBN) premiering this July, it is another opportunity for critics of the show to wear their toga of opprobrium. This time, their argument will assume a more arrogant posture over what, in their estimation, is a narcissist disposition of the organisers in the face of a world-ravaging pandemic. In a short while, these self-acclaimed pundits on how not to run a show will fill the social media space with beer parlour tutorials.

It is obvious to discerning minds that after COVID-19, the world will never remain the same. And I tell you; one of the things that will make way for people and businesses will be creativity. And as the world finds its path back to business – new rules of engagement will outsmart the odds, creativity and technology will blaze the trail, and gathering will no longer be a death sentence – this trend, my brother, is the new normal.

Need I say that Multichoice, organisers of BBN, is a continental company, run by think tanks, and I don’t see how the sentiments of some Facebook junkies count here.

With the cancellation of major sporting events, soap operas, dramas and shows with live audiences; the race is on for new television shows which can be made in accordance with social-distancing rules. Reality television is noted to be less challenging to operate at a distance once the cameras are in place. This is, in addition to the fact that, it can be delivered by a virtual host.

People are entitled to the kind of entertainment they choose, but as a fan, I have maintained that Big Brother is not an adventure reality show, but a lifestyle genre. It has its peculiar shtick, which, I believe, is a mental health game – relating to human’s emotional, psychological, and social well-being. It is all about how we think, feel, act — how we handle stress, relate to others, and make choices. Big Brother format is not exclusively a game of physical strength, but of endurance, tolerance, diplomacy, alliances, team spirit, creativity, and love – everything within the mental space.

Organisers of BBN are part of our society. As a company under the law, they are socially responsible to the society in more ways than us, the individuals. Why would anyone think that they are not sensitive to the health of members of the same society? That said, it would be rhetorical to ask why they will allow a physical gathering (if they choose), knowing that confirmed Covid-19-negative people can cohabit; as long as none among them is exposed to a stranger during the period. And to think that virtual engagements can also be an effective fusion for auditions, crew members, and guests on the show, we can only give the organisers benefit of the doubt without belaboring the safety rules regarding COVID-19.

Here’s a tip on how Big Brother Brazil rounded off at the wake of the pandemic: about six contestants were still in the house when the first case of Covid-19 was confirmed. As usual, they had no contact with the outside world because phones, media and any contact with the outside world was forbidden, while new contestants entering the house were banned from talking about the virus. The show had continued without a live studio audience, and with increased hygiene measures and constant monitoring of the contestants by a medical team, up until the finale on April 27, four days later than originally planned.

Methinks that if a show that was not in any way prepared for the pandemic, in one of the most hit countries, could see it to a logical end, I do not see the big deal in hosting the Nigerian version this year. Lastly, to borrow the words of Big Brother Brazil’s general director Rodrigo Dourado, “In the face of the current world reality, ‘being confined together’ has (only) gained a new meaning.”

By Victor Akande

With a collection of entertainment made in Africa and watched world over, this month marks another evidence of Nigeria’s involvement in telling the narrative of the black man.

Netflix, the world’s leading internet entertainment service provider, on Monday, announced the introduction of a Made in Africa collection – a curated list of African series, films and documentaries – to celebrate Africa Month and demonstrate the company’s commitment to the continent and its creative community.

The collection is available globally at netflix.com/madeinafrica (or can be found on Netflix by searching ‘Made in Africa’ or ‘Africa Month’ or ‘Africa Day’) and will make it easier for members who love African stories to find something great to watch. It includes over 100 titles – including older licensed films and shows as well as Netflix Originals like Queen Sono, which debuted on Netflix in February, Blood & Water, which will premiere this month, and Omoni Oboli’s 2019 political drama, Love is War.

The line-up also has critically-acclaimed films, documentaries and series like Jerusalema; King of Boys; Lionheart; Mokalik; Oscar-award winning film Tsotsi; Uncovered; The Wedding Party; Tjovitjo; Castle and Castle; The Boy Who Harnessed the Wind; Azali; Potato Potahto; Joy and more. Subscribers will also see major international films and series that were either predominantly or completely filmed on the continent, such as Holiday in the Wild (South Africa and Zambia); The Red Sea Diving Resort (Namibia and South Africa); Troy: Fall of a City (South Africa), Beasts of No Nation (Ghana), Blood Diamond (Morocco, Sierra Leone and South Africa), and documentaries, including Leonardo DiCaprio’s The Ivory Game and the Oscar-nominated documentary, Virunga.

“This Africa Month, we’re excited to celebrate African stories and storytellers. This collection includes Queen Sono – our first Netflix original series – and as well as films like Catching Feelings, Chief Daddy, 93 Days, Merry Men. We hope that by making these ‘Made in Africa’ titles easily available, we will help ensure they are watched around the world,” says Ben Amadasun, Director of Licensing and Co-productions for Africa at Netflix.

Africa has been tapping into Netflix’s $15 billion original production and licensing budget, and this is having a great impact on a sector with huge potentials but lacking access to the type of funding that enables filmmakers to easily produce content with the look and feel of international high-quality productions.

Interestingly, the streaming giant has increased its investment in Nollywood with a recently launched Twitter handle, NetflixNaija and commissioning of a six-part series to be directed by directors Akin Omotoso, Daniel Oriahi and CJ Obasi.

In spite of whatever inadequacies may currently exist on the platform regarding intellectual property coverage for Nigerian filmmakers, a contract with a streaming site like Netflix appears to be the only way out of the piracy problems faced by rights owners. The porous copyright laws and enforcement has allowed piracy to thrive in Nigeria, as efforts to stall illegal replication and distribution of films within days of VCD/DVD release has proved abortive. Thankfully, digital technology and Internet distribution have brought great relief to owners of intellectual property in Nigeria.

Netflix is the world’s leading streaming entertainment service with 183 million paid memberships in over 190 countries enjoying TV series, documentaries and feature films across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without adverts or commitments.

By Victor Akande

Everything is a secret to the average Nigerian celebrity. Unfortunately, this tends to colour or even distort information in a sector largely associated with glamour, fantasy and showmanship.

Our celebs hide under the guise that they have their private lives to live, forgetting that they have become the proverbial gold fish by the nature of their jobs.

It is not the fault of the entertainment reporter who seeks to know how a thespian or music star sleeps, wakes, eats, drinks and smokes, or even who he or she sleeps with because such a piece of information is not for personal consumption. A reporter is responsible to the public and a thousand fans out there, who want to know everything about their beloved stars.

Sometimes, while starving the reporter of useful information that could enhance his or her job, the average celeb subjects him or herself to speculations, which often times are either true or half-truth.

Perhaps, the only thing that is not sacred to some stars is a false account of how well their music or videos have sold. This crop of artistes like the hype, which they believe will up their profiles in the eyes of potential clients.

To a large extent, reports about troubled marriages of celebs, which the media have been castigated for, often turn out to be true when such marriages eventually hit the rocks. Indeed, there is no smoke without fire, but this is not making excuses for some junk journalists who have capitalized on the social media craze to publish falsehood.

However, the truth is, by concealing simple information, people give room for speculations. For a journalist who needs to turn in a particular story urgently, the page must be filled, whether or not the respondent is mum or decides to give a yes-or-no answer.

Some celebs would rather not say a word; some would even become hostile because they do not want to be quoted out of context. But the best thing to do is to come out as simple and clear as possible.

Let us leave the stars out for a moment and consider the same attitude from the corporate organizations which, expectedly, should know how best to manage public relations.

Have you observed that there is hardly any endorsement that comes with an official monetary figure? Telecommunications companies that now have several artistes in their repertoire have never revealed the amounts for which the artistes were engaged. So also are companies that engage artistes in road shows. Information in this regard is often classified.

Unfortunately, an artiste who is underpaid goes to town with a story of bumper harvest, when he or she can hardly fuel his or her car.

When a contract is not spelt out for all to see, there will be no basis for comparison and reviews. In other words, an industry can hardly know how well it is doing.

A friend said to me that the reason for this could be that the artistes don’t usually get the actual amounts, perhaps due to possible ‘settlement’ of the middlemen. But I think that should not be the reason the actual worth of a contract should not be declared. Whatever a brand ambassador decides to give the middleman in the name of bribe, kindness, agreement or remuneration is their choice.

There is so much pretence in the entertainment industry, and this can only continue to make the artistes unprofessional, while making the sector more of a craft than a profession.

By Victor Akande

The dust is yet to settle on the economic impact of the coronavirus pandemic all over the world, and one sector that is obviously affected is the entertainment industry. Ironically, the significance of this sector as an essential service industry is being underrated. You would agree with me that one way to cushion the effect of depression and anxiety in a period like this is through one form of entertainment or the other. For instance, study shows that the number of people said to have reported significant levels of depression and anxiety rose significantly after British Prime Minister Boris Johnson’s announcement of a historic lockdown of the U.K.

With social distancing measures, the entertainment sector is experiencing an unprecedented setback, as all shootings of films and TV programmes, public concerts and access to cinemas have been stopped. In Nigeria, we may not have the statistic to measure how people are faring, but our entertainment industry has been one of the factors that have kept the country going at a time like this. Unfortunately, and understandably so, an industry that provides such essential service has to be locked down. However, if its counterparts in the western could be feeling affected by the imminent loss, there is no gainsaying that Nigeria that is less cultured on rights and royalties of creative will cry more.

Kudos to Copyright Society of Nigeria (COSON) for responding to distress calls with a N50million emergency relief fund for about 4,500 members on the society’s register. While we celebrate COSON that has managed to stay afloat in view of the tough terrain of the Nigerian creative industry, the number of beneficiaries cannot represent 20 percent of musicians in the country, let alone the entire creative economy. Thus, with an obvious lacuna that is hitting the entertainment industry in the face, and given the lessons learned, one can only wish for a paradigm shift for the industry after the pandemic.

That said, I feel that in view of how government should respond to an industry it has so touted as a source of alternative revenue to oil, this is another opportunity for rethinking its priorities. And since we like to imitate the approaches of the western world in almost everything, here is another trend that might interest us.

According to Hollywood Reporter, the global box office has already taken a coronavirus hit of at least $7 billion. If the remainder of March, April and May are included, lost revenue would climb another $10 billion, making a total loss of approximately $17 billion. And if the crisis continues beyond May, all bets are off. As a result, UNI Global Union, a global union federation for skills and services, gathering national and regional trade unions has joined other professional associations representing talent and crew in film and TV production in calling for urgent financial and social measures for the film and audio-visual sector over cash-flow shortage and to prepare for the reopening of society and creative, cultural and economic activities post-COVID-19.

They reason that the backbone of the sector are the people in front and behind camera who are mostly employed on short-term contracts and do not have enough social benefits to fall back on during this crisis. The on-screen diversity and innovation displayed by the film and TV production sector across the world results from a strong and inter-dependent network of creative, financial and business partnerships, including many SMEs.  During this period, thing have been halted due to lack of cash flow and revenues to sustain their activities. This becomes a global concern as the TV and film sectors is said to account for about $540 billion of annual revenue.

Nigerian filmmaker Madu Chikwendu raises a pertinent concern in a piece of March 29, 2020 titled Covid-19, The Creative Industry and Looming Recession, saying: “If we were the poverty capital of the world before Covid-19, what would Nigeria be after Corona?

According to the notable practitioner, while Germany and the U.K Art Council have committed 50billion Euros and $190million to their creative sectors respectively, the palliatives from the federal government of Nigeria through the Economic Stimulus Bill 2020 have so far not accommodated its creative industries in spite of the huge losses it is suffering.

“The government and private donors need to understand that the creative sector is one of the most vulnerable for the simple reason that it is characterized by the highest number of self-employed individuals and SME’s. Without movies, music, video games and other forms of entertainment, nobody would survive a lockdown. It is no longer enough to praise the soft power of the creative industries and the monumental contributions in engaging the youths. The government and donors need to match the importance of this great sector with commensurate support. The creative industries need support like other sectors.”

 What else can I say?