Category: Victor Akande

  • The time bomb called P-Square

    The time bomb called P-Square

    WHAT makes the breaking-away of P-Square different and special? They are blood-related right? This, to me, is the reason their union is the most delicate. It was a time bomb set from the start.

    As divine as the family institution is, the worst person to do business with, especially in Africa, is most likely your relation. This is a function of the environment where a proper business structure is at the mercy of emotion.

    When their lawyer, Festus Keyamo, in an attempt to euphemize the feud, described it as a normal sibling rivalry, I begin to wonder what is normal about siblings who have chosen to wash their dirty linens in public. What I see is deep enmity, the depth of which you are likely to find between rivaling business partners who are not blood-related. Haven’t heard a phrase like ‘the degree of love is most likely the degree of hate when the tables turn’?

    The same environment has reacted with more sentiment, since the supposed doused rivalry between Peter on one side, and Paul and Jude on the other side reached its truce limit. I think that people should just let them live their lives and career apart rather than trying to force the water uphill in a matter that involves, as widely speculated, one of the wives.

    Now, here is how to look at the water and oil in this matter: Peter is temperamental and boisterous as his dancing skill; Paul is the introverted talented singer who is probably conservative; Jude is a ‘rude boy’ with ‘absolute’ powers as elder brother and manager; Lola, wife of Peter is senior in age to the twins, the other wives and perhaps senior to the ‘rude boy’ too. And she knows too much, having been there from when they all had nothing – probably struggling with the guitar; their late mother never approved of Lola in her life time, for whatever reason… But Peter is ready to go all the hog with Lola, for better for worse, for richer for poorer, till death…

    How many musical groups that broke up in Nigeria has got their wives or girlfriends in the mix? See why a family business is more precarious – People who have so bonded to your life don’t usually want you to say NO. They usually have an over-bloated image about themselves. This is detrimental because business and relationship don’t mix without one hurting the other.

    If you ask me, it would be a refresher to have Peter and Paul come together just once in a while for Collabos and stage performances. This will also open their minds to doing stuff with other artistes.

    Ever heard that two rams cannot drink from the same bucket without locking horns? That is the situation here, because people are bound to have contrary opinions, but when yours is different from that of your boss, the boss’ decision takes predominance. Have we ever asked who the boss is between Peter and Paul? These guys must have been tolerating themselves all these years and there comes a time, as painful as it may be, when there must be a parting. Even conjoined twins would attempt to move in different directions. That is the beauty of life and living.

    There is that psychological slavery that makes you want to break away. Even if your action turns out regrettable, you have satisfied a part of you that was yearning for freedom. If you choose go back to ‘prison’, it is because there is something in the outside world that chocks despite its space. After all, didn’t the late Fela Anikulapo-Kuti refer to the outer space as ‘craze world’ in his song, Beast of No Nation?

    You could decide to stay indoors for days feeling real good with yourself, but when you are holed up against your will just for hours, you’d think the torture has lasted a month.

    People have remained perpetually pained in problematic marriages and have paid the consequences with their lives.

    Fans of P-Square who are ‘killing’ themselves for nothing should take solace in the Yoruba proverb: Okere l’omo iya dun mo (siblings are best at their relationship when far apart). I didn’t invent it; our fore fathers did, out of life experiences.  People should not force people into a relationship. There is a time to desire one and a time to let go, even if the popular saying that ’20 boys cannot play for 20 years’ does not come to play.

    Imagine people trying to force D’banj and Don Jazzy to come back to Mo’hits. The train had since passed that terminal and things can never be the same again. Yes, Oju apa k’ole da bi oju ara (scars do defile the skin permanently).

    In the history of musical relationships all over the world, groups are known to have gone their separate ways, giving a new definition to their music and fan base. Talk of Nigeria’s Kcee Presh, Zulezoo, Plantashun Boiz, Remedies, Kush, Ofege, and foreign groups such as the Beatles, Supreme, The Jacksons, Shalamar, Destiny’s Child, ABBA, Bob Marley and the Wailers, etcetera.

    Let’s just say that the late mother of P-Square had tried her bit to keep them together in spite of their different temperaments, styles and choices. Do you expect less from a mother? We must understand that people are wired differently, making misunderstandings and quarrels so imminent in any relationship. In fact, misunderstandings are what define a relationship. A bed-of-roses kind of relationship is most likely prone to danger because expectation must have been built to unrealistic level, and usually, like a combustible, the explosion is usually catastrophic.

    What is it that makes P-Square’s case different? Is it because they are blood brothers, and is that a reason Jude must remain their manager forever? Is it a birth-right? For all I care, the Okoyes’ blood isn’t any thicker than that of others who have sacked their relations from their personal businesses. Now, which could be more emotional; sacking one’s brother or sacking one’s dad? Well, Beyoncé sacked her dad as her manager and heaven did not fall.

    Indeed, Beyoncé sacked her dad, Matthew Knowles when she heard he was cheating on her mom. At some point, Michael Jackson also had to ease his father off his management company. What about Nigerian artiste, Burna Boy who stopped his mother from managing his career any further in 2014? Perhaps of more interest is his American counterpart, Usher who fired his mother in 2007 after he married Tameka Foster, then rehired her in 2008 when his marriage crashed, and then sacked her again in 2009 when he started dating Grace Miguel.

    Recall also that Selena Gomez had also fired her mother and stepfather who were her managers at some point, while Nigeria’s Tiwa Savage dropped her husband, Tee Billz, as manager barely five months into their marriage.

    This one is even crazier; American singer, Leann Rimes not only sacked her dad, Wilbur Rimes, in year 2000, she also dragged him to court for stealing her money.

    I encourage Peter and Paul to move as the spirit leads. Whatever spirit it is…

    Perhaps Peter and Paul were never destined to be wealthy in equal proportion and one of them had been feeding fat on the other. The reality of the situation may just reveal who between them had been living on borrowed time.

  • PSquare: Peter asks lawyer to dissolve group

    PSquare: Peter asks lawyer to dissolve group

    …Alleges threats from brothers

     

    Nigerian Hip-hop twins, Peter and Paul Okoye of the popular PSquare group, appear to be splitting up, finally.

    Peter, on Monday, gave credence to the purported tales of separation of the musical group.

    In a letter written to their lawyer, Festus Keyamo, Peter is seeking to dissociate himself from the group, citing threat to life, disregard for his family and failure to honour past agreements as some of the reasons he cannot continue with the musical group.

    He said although the decision to quit was a tough one, Peter noted that he has tried and exhausted all options to work things out, but that Paul is not willing to cooperate.

    “For example, he canceled our U.S. tour without discussing it with me. Unknown to me, he canceled each show as we were being booked. He has also been accusing and threatening my wife and family of unimaginable lies via social media outlets. Me and my wife have been getting different threatening messages. I fear for my life and the life of my family. I cannot continue with PSquare in conditions like this that will jeopardize my wellbeing,” he stated.

    He also recalls an incident where the group’s manager and their elder brother Jude threatened to kill him and shoot his wife in the presence of Paul and Mrs. Imoke (former First Lady of Cross River State).

    “He repeated it several times in front of you and other individuals. Last year at your office, he threatened me to come with my coffin whenever he sees me around his house. He stood up and hit me in front of you and the other lawyers. I have documented video of when this moment occurred and I have played it for you. One thing for sure, we are family first before PSquare,” he said.

    Peter recalls how last year, they put aside their differences to appease the fans, even though there were still unresolved issues on ground and the other parties failed to honour their own end of the deal.

    “I wish Jude and Paul the best in their careers. I love them and their families, but my family too is important and I cannot betray my wife and kids. My family comes first. There have been so many threats against me and my family and it’s in the best interest of me and my family to remove myself from this contract,” he said.

    While many thought that the rift between the brothers had been finally put to rest, the news of their separation went viral on the Social media recently after Peter posted a Snapchat video revealing that he is in Philadelphia on his own for a solo show – without his twin brother, Paul.

    “My name is Mr P,” Peter said “As from today, guess what? It’s show time, I’m about to go on stage.”

    This post came days after his brother, Paul wrote on Instagram saying; “Only a woman can come where there’s peace and destroy it”.

     

  • Royal Hibiscus Hotel: The Morning After

    DID I just stir the hornet’s nest with my honest review of Mo Abudu’s latest film, Royal Hibiscus Hotel (RHH)? Many people have made so much ado about a mere movie review simply because it fails to praise-sing. By so doing, they have merely displayed an uncivilised attitude to the business of filmmaking and their personal disdain for correction. I ask; when has it become a crime to say the obvious, rather than follow the path that celebrates effort rather than outcome?

    It is shocking that even people who should know better have sold their sense of objectivity, either to nepotism or share marketing of anything money-making.

    In the last three days, words have reached me about how offensive my thoughts on RHH was, with many thinking it was daring to lift the lamp to the face of a tigress.

    Here we go:

    “Wow! Really harsh o. You took it to the cleaners.”

    “Haaaaaaa. Strong man!”

    “You dey find trouble o”

    “I just read your review of the Royal Hibiscus Hotel. All I can say is “wow” but you know Mo Abudu does good marketing.”

    “Dem go attack you o. You know these people don’t take criticism well.”

    “This review is making me long for the movie, not because it’s going to be spectacular but so I can see all the lapses.”

    “Very interesting read sir. I remember reading your review of The Wedding Party and felt you were a bit too harsh but looking back now, I should have trusted your judgement. The movie irritates and I find it difficult to laugh even though it was a comedy. On RHH, I am totally trusting your judgement. Something is wrong with Mo Abudu’s movie business experiment though and I think this topic deserves scrutiny from someone like you. From her Fifty movie down to RHH, there is nothing new. She is adding nothing to the rich Nigerian culture in terms of showcasing and archiving. This is turning out to a case of money miss road, sadly.”

    “That was very balanced and considerate. This should excite Mo Abudu and help her neutralise ISD’s usually harsh reviews.”

    “Victor you dey vex ooo jeeesussss!!! Mo won’t be one bit happy with you!”

    “@ Victor Akande… Incredible boldness from a Nigerian Film Critic…It’s simply amazing for XYZ (not real word) where we drown ourselves in congratulations… I must see the movie to verify whether Victor’s essay is justified or good old fashioned ‘Bad Belle’.”

    “Matters arising thank God it wasn’t me. Is Victor Akande qualified to critique? Wey your papers Victor? Abeg show your certificate.”

    “Geez!”

    “The art of critiquing is a simple intelligent mechanism …not rocket science… it needs no qualifications but more of passionate inclination.”

    “Simple, intelligent. When you see one you will believe it. I’m eager to see the film also.”

    “His write up is balanced. Intelligently crafted and you can only argue for and against when you see what he has seen. I also love the comparative analysis in his work. A big bold write-up. This is the kind of material that will keep you up at night.”

    “Any criticism borne out of ‘badbellism’ is usually afloat for lack of substance.”

    “Was that a critique, a review or an opinion?”

    “Lots of awful premises inexplicably ending in an exquisite, iconoclastic Indian film like Zainab conclusion.”

    “The earlier we realise that critics are filmmakers’ friends and not enemies, then our journey will begin.”

    “I really could picture the scenarios as I read it. I am tempted to say good point but that will be bias because I have not seen the movie so until we watch the movie, we will just respect his creative argument. I also like the fact that it was balanced- the good, the bad and the ugly. I see his point with Lala- comparing her performance to Rita’s character acting. Again we can only agree or disagree after the release of the movie. It’s an intelligent crafting and beautiful analysis of a work of arts. He recognised great moments – by far better than a an opinion poll taken by a proposed ready writer who gather five people together and made his review on an opinion poll of “I didn’t like the movie” . But until we watch.”

    “Film business is now serious business o. I read the review and sleep clear for my eyes.”

    “It’s a very bold move. I have met the guy- a very young chap. If they can sustain this for 2 years, it will be a massive shake up. If they succeed, it’s going to encourage a lot more to take the step.”

    “Let me just say that it looks like a film critique gets much more attention than a film praise, both for the film and the critic. Maybe there is a lesson in that for film marketing? I think so.”

    “The feedback that I got from TIFF was quite positive.”

    “Yea. It sold out in TIFF. People loved it.”

    “Correction: Three sold out shows. Mixed crowd. I was watching from a distance. Nollywood is representing bigtime. But not everyone must like what others do.”

    “Totally shocked by this write up. Been in this business long enough to read and sometimes accept criticism no matter how harsh it comes across but this one takes bad belle to another level. Was this the same film we watched? Wow…..not shocked because we got same about The Wedding Party about the same period last year and if that serves as a yardstick perhaps we should get ourselves ready for another smash hit.

    “I was a skeptic myself before seeing RHH not because I didn’t think it would be a great production but mainly because I thought the trailer was not the strongest and I thought this was a reflection of the entire film (and yes this is coming from the film’s sales agent and I communicated my concerns adequately). I was totally wrong, RHH was a beautifully, well-crafted story that engaged and entertained its audience throughout the entire 91mins, (never watched a film 3 times in a row but this one had my attention) and the strongest part of the film contrary to this write up were the performances by the cast which with all due respect I also had concerns about due to the star centric system we run when it comes to theatrical releases in Nigeria.

    “The truth is that one of the huge selling points of this fantastic follow-up for Ishaya Bako is the very believable performance of the cast and the ability to tell a story with a global theme in a very authentic Nigerian way.

    “I will stop here and let the audiences vote once again come Feb 9 when we release the film to the world.”

    “This RHH write up is more of an opinion to me sha.  And the last line in the opening paragraph is exactly what I’m not fond off about these new wave critiques… shock and awe. Can’t one critique without being offensive or the savagery. Clearly didn’t like the film which is fair… But for a film that I know invested loads in technicals not much was said about that aspect,  cinematography etc which may have forced the writer to speak a little more positively and against apparent m.o. (pun intended) Ishaya is a really good director so I’ll ‘comment my reserve’ till I watch am. Also heard film was pretty decent sha.”

    “This is welcome, wish the two extreme views could be pushed and magnified, so fans would rush to view and have their opinions.”

    If this was a football match, we’d be talking of a return leg on February 9, when RHH is released in cinemas.

    Should critics be cowed by the commercial success of any film, and retreat from doing their part in the business? No! We are all players in this space, and it is a must for us to co-exist – like the tongue and the teeth.

    But let me quickly say that the substance of a wholly commercial film has never been related to its technical pegs. So why do I need to bother myself talking about the best of cameras, the very notable director, cinematographer, lighting of RHH.

    Should a reviewer or critic be so bias, malicious or unconstructive, it is only a matter of time before they are ranked among charlatans and attention seekers. Heaven knows I’m not a fan of unnecessary relevance.

    For the record, one would only be bothered reviewing certain movies now because their makers may be trying to tell the world, albeit subtly, that their style defines Nollywood, when indeed it is not. Second, as long as we continue to play in the global space by participating in film festivals and international award schemes, Nollywood will not be treated to different rules of engagement. We must knock ourselves so hard, perhaps enough to feel the pain beyond how messy it feels when being stoned with a rotten tomato.

    We must take criticism or critiquing in good fate. We must allow ourselves to be defined by our works and not for our works to be determined by our personalities. When Nollywood is fully ‘settled’, critics may care less about wholly commercial movies. It will amount to a waste of time because there will be other creative works to keep them busy.

    Meanwhile, a review can come in form of a commentary or analysis. If it is a commentary, it may pass as an opinion; if it is an analysis, It may pass as a critique. All these are mere nomenclatures. They all point in one direction – perception. The filmmaker owes us a duty to be perceived well.

    For those spotting for a ‘return match’ on February 9, 2018, let’s for once shift the battle ground from the cinema to award schemes like AMAA, AMVCA, and competitive arm of film festivals like AFRIFF, AIFF etc, and see what diadem awaits the RHH.

    All said, do you know how many people now yearn to see this movie? I think I deserve a Thank You for this unpaid-for publicity (smile).

  • TORONTO AS NOLLYWOOD’S  EMERGING NIGHT MARKET

    TORONTO AS NOLLYWOOD’S EMERGING NIGHT MARKET

    AFTER the privilege of showcasing eight Nollywood films at the Toronto International Film Festival (TIFF) in 2016, the Nigerian film industry may have found a more conducive market to display its wares. This year, the phenomenal film industry tries to bridge the gap, returning with one Romcom (Royal Hibiscus Hotel); a family drama (Still Water Runs Deep); and short film on the extremist Boko Haram sect (Waiting for Hassana). These three are in the official selection.

    To understand how last year’s outing opened the eyes of Nollywood stakeholders to this new opportunity, a new initiative – Nollywood Travel Film Festival – made its debut in Toronto as an independent showcase that has attracted the African community in the North American country to see some of the new releases from Nigeria, while also savouring celebrity appearances of artistes like Richard Mofe-Damijo, OC Ukeje, and Oris Erhuero (Sometimes in April, Road to Yesterday) among others.

    The travel festival opened at the Innis Town Hall Theatre at the University of Toronto with Kada River, while featuring not less than 12 other films, including Kunle Afolayan’s Roti, Ayo Makun’s 10 Days in Sun City, and Rogers Ofime’s Oloibiri. Others are Unveil, Catcher, Mansoor, Lost in London, Esohe, Slow Country, Lotanna, and Alter Ego.

    Indeed, Canada seems to be a more assuring ground for the Nollywood ‘night’ market to fester; only when compared to the subtle protest against the indisposition of Cannes International Film Festival to, especially Anglophone African films, leading to the birth of an annual showcase called Nollywood Week Paris few years back.

    I say this of Canada for several reasons, including the fact that two television stations – AfroGlobal and Feva TV – have emerged to meet the demand for Nigerian entertainment contents among the Blacks in Canada.

    There is also a determination to continue a Nollywood film fiesta during the annual TIFF season.

    Meanwhile, there are other glimpses of Nigeria at TIFF this year that tends to support my understanding of Toronto as the emerging Nollywood annual destination – the inclusion of Nigeria’s Omoni Oboli among six promising female storytellers in a ‘Share Her Journey’ initiative, and a Nigerian pavilion acquired by Nigeria’s National Film and Video Censors Board (NFVCB).

    A night market is an African tradition. It does have different meaning. But it is safe to say that it is opportunistic, flexible, convenient and faced less rules.

  • Why you should see TATU  and other book movies

    Why you should see TATU and other book movies

    I can count on my fingertips the number of films that have been adapted from books in Nollywood. I have always advocated this approach, knowing that Nigeria has more internationally recognised authors than auteurs. So, each time I hear about a movie adaptation of a book, whether or not it is a popular literature, I am enthralled by the enlargement of creative intelligence.

    More so, there is a kind of feel-good sensation, knowing you have read a book on the film you are now seeing or about to see. Sometimes, it tasks your critical mind on how well or otherwise the interpretations are playing out, and while one is seeing their favourite characters come alive, they may choose to compare the director’s creative license to a mental picture earlier created from the writer’s narrative.

    TATU, an epic adventure movie by Don Omope is the latest addition to Nollywood book-movie, authored by Dr. Abraham Nwankwo, the retired Director General of the Debt Management Office.

    It follows efforts like’ Half of a Yellow Sun’, written by Chimamanda Adichie; ‘The Narrow Path’ by Tunde Kelani, adapted from Bayo Adebowale’s ‘The Virgin’; ‘The Concubine’, a  2007 movie adapted from Elechi Amadi’s book of the same title; ‘Maami’  written by Femi Osofisan  and adapted into a movie by Tunde Kelani; ‘The Perfect Church’, produced by Wale Adenuga Productions from a book by Ebi Akpeti; ‘Dazzling Mirage’ by Tunde Kelani, adapted from a book written by Olayinka Egbokhare; ‘Beast of no Nation’, adapted from a book written by Uzodinma Iweala.

    Before now, we’ve had few movie adaptations from plays, including ‘Kongi’s Harvest’ by Wole Soyinka; ‘Bullfrog in the Sun’ made from ‘Things Fall Apart’ and ‘No Longer at Ease’, both written by Chinua Achebe; ‘Bisi Daughter of the River’, adapted from the play of same title by Ladi Ladebo, Jab Adu and Kola Ogunnaike; ‘Aiye’, based on Hubert Ogunde’s play of same title; ‘Ija Ominira’, from Adebayo Faleti’s novel; ‘Koseegbe’, produced by Tunde Kelani based on Akinwumi Isola’s book of same title and ‘Orun Mo Orun’, from a play by Moses Adejumo, aka Baba Sala.

    Running in Nigerian cinemas is TATU, one of the high-budget movies powered by Bank of Industry (BoI) under the NollyFund scheme, and next in release after Jade Osiberu’s success with ‘Isoken’.

    A fast-paced action drama with contemporary take on the classic African story, TATU stars eyeball-gifted actor, Segun Arinze, in a conscious use of the sight organ as shown graphically on promo posters. And with comic moments from the likes of Hafiz Oyetoro, aka Saka, and Frank Dunga, the epic film appeals to me as a potpourri that assuages the different tastes of a film lover like myself.

    For a film that parades some of the best crop of actors from Nollywood, you cannot have enough of the versatile Toyin Abraham, same way that Gabriel Afolayan has always had his way with movie roles. What more can one say about Sambaza Nzeribe, the AMVCA 2017 Best Actor. And with a theme on conflicts arising from a mother’s quest for a child, TATU must have been creatively crafted to educate and entertain. Little wonder it earned its place with heavyweights like Bank of Industry’s NollyFund, Patriarch Technologies, FilmOne Production and FilmOne Distribution.

  • Adieu Obi, ‘King of Musanga’

    Adieu Obi, ‘King of Musanga’

    WITH the passing of filmmaker Obi Madubogwu, Nollywood has recorded another death that reminds one of the early days of VHS home video – ‘Battle of Musanga’, produced by notable marketer, Gabriel Okoye, aka Gabosky, was one of those films that defined what today is called Nollywood, and Madubogwu carried his role as royalty with gait and energy worth remembering.

    While celebrating the life of Madubogwo who was said to have died of complication arising from a fever on August 28, 2017, after suffering Diabetes for years, the background of the deceased in the film industry is of essence, because, even during his lifetime, he was often addressed as the ‘King of Musanga’.

    The budget for that film in 1996 may not be alarming, but prior to this moment when the Bank of Industry is supporting filmmakers with loans as much as N50 million under its NollyFund scheme, ‘Battle of Musanga’, according to Gabosky was the biggest budget film produced in the history of home video in Nigeria.

    Talking more about the landmark of the film, Gabosky said some years ago: “Battle of Musanga is also the first epic movie in Nollywood. It was the first time that artistes were moved out of Lagos and were all camped in a hotel for a movie production.”

    Obi Madubogwu, it was, who led a cast of other notable actors like Alex Usifo, Chiwetala Agu, Eucharia Anunobi, and Chika Anyanwu to deliver in motion picture, a history of an African society before the advent of the white man and what happened to that society when the first white man ventured into the hinterland – area East of the Niger Delta, in 1863.

    That said, Madubogwu had gone ahead to produce his own films, some of the titles which include ‘Mothers-in-Law’ (2004); ‘Passion of My Blood’ (2007); ”Conspiracy’ (1999) and ‘Grave Dust’ (2015).

    ‘Conspiracy’, for example, resonates with Onyenka Onwenu’s song, “You and I,” adapted by Stanley Okorie for the movie. The film, which features Onyeka Onwenu as Grace, the mad mother of a set of twin boys, who grew up to become doctors, and found a cure to their mother’s madness was one of the classics by the Ogidi, Anambra state-born filmmaker.

    I was with the deceased in September 2015 in Frankfurt, Germany, where he had joined show promoter, Isaac Izoya, on the shoot of ‘Diplomatic Strings’. He was as cool and calm as ever. Our parts first crossed in 2006 as members of the 8-man Screening Committee of Africa Movie Academy Awards (AMAA) which also had Iyen Agbonifo-Obaseki, Ernest Enobong, the late Mohammed Musulumi, the late Chike Bryan, Stanley Okoronkwo, and Acho Ugenyi. We had also embarked on several trips together, relating to Nollywood industry events. And my impression of him was a total gentleman who loves his family dearly.

    But his diabetic ailment got worse in 2016, and he had to be hospitalised at the Federal Medical Centre, Ebute-Metta, Lagos. Obviously, he had been managing the ailment for long because, in 2009, he founded the Saving Life for Africa Diabetes Foundation.

    But just as many thought that the battle was over, death sneaked in, claiming the strong man in ‘Battle of Musanga’. He was just about shooting another movie after a long time in the hospital.

    Here is how his colleagues reacted to the news:

    His close friend and colleague, Nobert Ajaegbu broke the new when he said: “I am pondering at the nodding of the lizard, your goats are bleating, an outstanding king, Obi my good friend, where are you? Tell me it is a dream.”

    In no time, the news has gone round.

    Kate Henshaw could not believe the news. “Jesus! Lord have mercy!” she exclaimed, saying; “It can’t be true… he sent me a script a while back that he wanted to shoot… haaaaaaa!!!”

    Robert Peters corroborated her: “How are the mighty fallen in the midst of the battle. He recently sent a script he wanted us to work on… we spoke a couple of times and he sounded so strong. God knows best. Rest in Peace Obi the King of Musanga.”

    Some of his colleagues reached out to his wife, just to be sure it wasn’t another bad rumour. “Confirmed. Obi is dead. We just spoke to his wife. He developed fever yesterday, went to the hospital this morning, had complications and died.  The family is taking him home tomorrow. May his soul rest in peace,” said Chidi Nwokeabia.

    Recollecting their good times together, Lanre Falana said: “Obi will call me the “thick man” and I would call him the “muzanga king”, we’ve been like that since 2002, wow! 2002 is a long way back man; my muzanga king has gone to rest. Hmmmmm!  Till we meet to part no more my dear friend. My one and only muzanga king is gone, God knows best.”

    This was just as Opa Williams pondered: “This guy went to inspect my Studio last Thursday to start shoot soon. Abeg, life na waya.”

    Indeed, life is a journey; it ends when it would end. Adieu, Obi Madubogwu, King of Musanga.

  • NBC’s belated cry and a Sallah Day without music

    SOMETIMES I do not know what to make of some of our regulatory and public service agencies in terms of their operations. But it is noteworthy that the only area they are proactive is in ticketing, licensing, levying etcetera – everything that has to do with bill collection. In terms of service delivery, there are always excuses that only give them away as either lame, incompetent or unprofessional. The fire service will always get late to trouble spots; PCHN will allow electricity mostly, only when they are to embark on disconnection; the police are on the road mainly to extort from commercial motorists, just as the Rapid Response Squad (RRS) bikers would sniff around the highways for a motorist making phone call while driving, than to bother about miscreants that rob commuters in traffic in daylight.

    On Tuesday, the National Broadcasting Commission (NBC) was reported to have banned five songs from the airwaves. Incidentally, the songs – ‘Wo’ and ‘Wavy Level’ by Olamide Adedeji, simply called Olamide; ‘Fall’ and ‘If’ (Remix) by David Adeleke, aka Davido; and ‘Living Things’ by Abolore Akande, aka 9ice – are the rave-of-the-moment songs that radio and TV stations find difficult to ignore. The fact is that these songs did not get popular in one day – in fact, one of the factors that engraves music in the heart of people is when radio and TV stations put such songs on the repeat mode. This way, even songs that were perceived unattractive at first, usually find their way into the subconscious of the radio fan. The question is where was the NBC all the while? Who or what has suddenly jolted the agency to action at the 11th hour? And of course, what difference will it make now that the songs have been downloaded to the phones of several youths while many more have them as their ringtones or caller tunes?

    For NBC, it is laughable that they appear to be crying when the head is over. This gets me to wonder if the agency understands the broadcast terrain well enough to do their gatekeeping role effectively. On the other hand, it could be a function of the typical civil service slipshod that places priority only on licensing of stations and collecting overhead from government for doing nothing.

    The moral value of the society is already endangered, and parents alone are left in a rat race that could be more frustrating in this internet and social media era. The situation is so bad because even religious organisations have been compromised and teachers too, are mostly struggling to make their rewards a reality in their lifetime.

    On the part of the radio and TV stations, there is a word called self-regulation. And I find it hard to believe that the code of ethics for broadcast organisations would not have covered areas of vulgar lyrics, indecent exposure and what have you. Thus, why would the NBC have to ban a song before the management of a station get to understand that it is an abuse of their professional calling to either play songs that should be left to club houses and concerts, or even play them at primetime.

    The rot is indeed a vicious circle, but those charged with the responsibility to wield the stick must be held accountable. The NBC must wake up to its responsibilities and stop making a joke of its mandate. And, did I hear that the NBC is refuting the purported ban? I thought they say, ‘it is better late than never’. It is most shocking that the NBC is trying to refute a move they should have quietly admitted. To me, refuting the ban of those songs for which radio stations have started complying is like giving the songs a ‘clean bill’. If someone is trying to cover their shame through that write-up (whether or not it was false), they have simply called themselves the ‘lowly child’ that rebuffs the mat’.

    Meanwhile, I hear Friday September 1 is Eid-el-Kabir, a day incidentally fixed by the Nigerian music industry as No Music Day. Now, how do we celebrate? “No Music Day” is a day the music industry has dedicated to bringing the attention of the Nigerian nation to the widespread infringement of the rights of song writers, composers, performers, music publishers, record labels and other stakeholders in the music industry. Although compliance is not usually total, it makes a huge difference that music are either played scantily or not played at all for some hours, and only talks about the import of the genre are given a priority.

    Thus, on Sallah Day, we would be hearing sermons, not necessarily to celebrate the memory, sacrificial ingenuity, and total obedience to the will of God by Prophet Abraham (Peace be upon his name), but about how unexciting the world would be without music and the need to give due honour, recognition and allow financial reward to come the way of creators of music content. Did I hear you say ‘good idea, wrong timing’? This is only co-incidental and an irony of sort. Whichever way, the show must go on! We will play legally purchased songs from our ‘turntable’, just so we don’t have a dull celebration. Barka de Sallah!

  • NFVCB, FVPMAN’s bust of Alaba, a slap on NCC

    FOR decades, any attempt by right owners and law enforcement agencies to raid Alaba International Market Alaba International Market, Ojo, Lagos, in the name of piracy activities was considered a suicide mission.

    I was a witness in 2006, when suspected pirates in Alaba market resisted arrest by mobilizing other marketers who launched a vicious attack on officers of the Nigerian Copyright Commission (NCC) and men of the Nigerian Police.

    The Police arrived the market with the anti-piracy team of the NCC. They had barely gone 30 minutes into the operation when a suspect dealt a police officer a blow in the face. Another brought out a gun and shot an officer in the leg. Members of the team scampered in different directions as stones, bottles and other dangerous objects were hauled at them. The Police abandoned their lorries in the pandemonium.

    The incident occurred on June 12, 2006, two weeks after former Lagos State Commissioner of Police, Mr. Emmanuel Adebayo, assured the then Director General of NCC, Adebambo Adewopo, of full Police support.

    The incumbent government of Muhammadu Buhari’s desire to turn the creative industry to creative economy took a serious look at issue of piracy, and after the last Creative Industry Summit, a collaboration was announced between the Police and a special taskforce set up by the Minister of Information and Culture, Alhaji Lai Mohammed. But just before the committee could settle down for work, the National Film and Video Censors Board (NFVCB) hit a sudden blow on Alaba, by arresting four piracy suspects, and confiscating film titles and replicating machines worth over N50 million.

    The NFVCB raid was carried out by members of the Film and Video Producers and Marketers Association of Nigeria (FVPMAN) who constitute an earlier taskforce, set up by the newly appointed Executive Director of NFVCB, Adedayo Thomas, to fight unauthorized distribution, as well as unlicensed and uncensored films.

    It is instructive to note that the chief players in the recent ambush on Alaba include the NFVCB boss; notable film marketer, Gabriel Okoye, aka Gabosky; Chairman of FVPMAN, Emeka Aduah, and film marketer and lawyer, Nobert Ajaegbu.

    “This is the first time I am seeing a very coordinated raid of these intellectual thieves,” a filmmaker noted.

    It is interesting to know that a consistent raid of Alaba, over a period of five days could be successful. It is also curious, as one would imagine that this became successful the first time the NCC was not involved in the operation. This is lending credence to the popular belief that bad eggs in the Commission may have been acting as informants to the pirates. This feat is a slap on the NCC, and an indication that indeed, it is possible to break the ranks of the notorious Alaba market pirates.

    Not only was the NFVCB able to beat the NCC to its game, the former embarked on a ride that could offend the latter’s mandate, by utilizing its mandate on licensing for distribution, classification and censorship to set a pace for possibility.

    With this eye-opener, the NCC and the larger taskforce of the creative industry should move in swiftly to keep the fire burning. The mandate of the NFVCB is not to fight piracy, but fortunately, the pirated works cannot be taken to the agency for censorship or distribution bid. Thus, the pirates are potential captives of the NFVCB. This can only be more interesting, as the offence of the pirate is multiplied.

    With the bad eggs in the NCC in mind, and the need to keep the anti-piracy moves watertight, the fight can only be sustainable, if the NFVCB man is able to identify the bad eggs in his agency and put them where they belong.

    Stakeholders must be wary of divide and rule antics which the pirates have used to keep themselves on top. There is no doubt that they (pirates) may want to infiltrate the anti-piracy team.

    Actors and other popular faces should support this new energy by speaking against piracy and educating fans on the need to patronize original copies of DVDs alone.

    It can only be a win-win situation for the right owners if this energy is sustained, long enough for the pirates, who are enamoured of this business to seek the legitimate way, deploying their financial and material resources to help the surplus that proper distribution require nationwide, and in fact, internationally.

  • KECHI: A SECOND LIFE SO REAL AND MELODIOUS

    A survivor of one of the plane crashes in Nigeria, Kechi Okwuchi, may have been spared for greatness, and she is not living in denial. Nah! She now understands the true essence of living, and is determined to enjoy every moment with one thing – the gift of the voice.

    Kechi was one of the two survivors of the Sosoliso Airline which claimed the lives of 107 passengers on December 10, 2005 in Port Harcourt.

    It doesn’t matter how anyone looks at it, Kechi, I reason, connects better with life than ever.

    I watched this Nigerian rock the America’s Got Talent stage with nothing but her God-given talent and I got the message of her existence – call it a second chance if you choose- I see a need to live life to the fullest, adoring not just myself, physical attribute and material accomplishments, but every little gift deposited in me by the Most High.

    The talent judges – Simon Cowell, Heidi Klum, Howie Mandel, Mel B and the guest judge Seal may have celebrated Kechi with a standing ovation after her rendition of Donny Hathaway’s ‘Song for You’, the audience may have cheered excitedly, and perhaps with outburst of high emotion going by the lady’s life story, she gives a more though-provoking air, and only the discerning mind can see talent in its spiritual nakedness.

    I urge that as we watch her performance in the next round which is the live shows, we must spare a moment for that kind of sober reflection that not only empathizes, but one that celebrates the voice talent as an emissary with good tiding for mankind.

    By doing this, every musician, actor, and creative in other fields would understand and see their talents as a sacred gift to be used only to impact the world positively.

    This is not talking about gospel singers like Sarah Kiarie, Elijah Miller, Beatrice Wangui and others who have allegedly sold their lives to illuminati. It is not just about any gospel musician with the voice and not the heart. Indeed, I will vote Fela Anikulapo-Kuti and Bob Marley over them. This is the 20th anniversary of the death of Fela, and we cannot stop talking about what he did with music.

    Here is what Cowell said after Kechi’s performance: “What I can say for sure is you deserved your place here tonight, not just on your story, but on your talent. That’s the truth tonight.”

    I cannot agree less. Kechi herself acknowledged the fact that there is just one thing that is giving her all the joy in the world. Wonder if she knew this before her accident – her voice: strong and unburnt.

    She said: “Tonight was overwhelming…idk. I got to watch the show with all the @shrinershospitals kids, fellow burns survivors, and it was just so fulfilling…and now. Live shows, huh. I’m just so grateful to God, guys, for allowing me to get this far, and I’m eternally grateful to Seal and Simon for saying the words I needed to hear: that I deserved to be on the show based on my voice, not just my story.”

    And thank YOU all, for being with me through this journey and finally, thank you @agt !! Cos even if it ends here, my dreams have already come true! @howiemandel @heidiklum @officialmelb@simoncowell @tyrabanks.”

    Let’s spare a thought for our life, our underrated and misused talents.

  • WHO’S THE MODERN ENEMY OF NIGERIAN CREATIVE INDUSTRY? Attention: AGF, PMAN

    FOR long, we have identified Alaba Market as the active enemy of the creative industry. The inactivity of government, corporate organisations and development agencies was considered flaccid adversaries of an industry with immense potential than the most revered oil. All that can be forgiven, because we can excuse the past as a period of ignorance.

    Now that government is about taking the creative industry on a flight of purposeful destination, now that reactions are gradually building with re-energised interest by institutions like the Bank of Industry, Tony Elumelu Foundation, Inspector-General of Police and all, it is important to know who the new enemies of economic progress are, that have chosen to stall effort at spinning forward, from its present 1.4 per cent contribution of the creative industry to the country’s GDP.

    Now that government has discovered the new ‘oil well’ in the creative sector, now that lawyers are finding new clientele among entertainers with many of them making direct investment in film production and music labels and many more championing the fight against piracy, now that the banks are beginning to see signs of auditable structures and Return on Investment, now that the detractors of creative economy are thinning out, now is that time to identify the ‘crazy baldheads and chase them out of town’ (in Bob Marley’s voice).

    But how prepared is the creative industry for this new challenge that is about to place the engine of a segment of the Nigerian economy on their lap? This is no time for backstabbing and petitions, rather, for critical assessment of the state of the industry visa the new developments.

    An important part of this development is the fight against piracy for which the Inspector-General of Police has showed cooperation, but I see one grey area in the process, which only the Attorney-General of the Federation and Minister of Justice can help resolve – This is by moving the Nigerian Copyright Commission from ‘Justice’ to ‘Information and Culture’.

    This was the opinion of stakeholders at the last Creative Industry Summit, and if the position of the Minister of Information and Culture, Alhaji Lai Mohammed, is based on the cardinal principles of Progressive Change which is the cornerstone of the Muhammadu Buhari’s administration, then the creative industry is on its way to Eldorado.

    But on the basis of ego and individuality that sometimes characterise our politics, there may be some hiccups. I pray that this should not be the case. Otherwise what would be the reason for the AGF to hold on to the NCC which has not fared well under ‘Justice’ since its creation?  I think a let-go will be fair to the ‘redundant’ members of staff of the agency who have had no clear record of success with anti-piracy operations and have often blamed their inefficiency on underfunding.

    I trust that the AGF cannot be selfish in this case. This is the Change government of Muhammadu Buhari and all hands must be on deck to develop this nation and achieve the much-desired alternative sources of income generation. The cause is beyond an individual or their ego. There are other major concerns for the Ministry of Justice to busy itself with, and the NCC cannot be the yardstick of its success. Far from it.

    Moreover, now that the entertainment industry desires some harmonisation, the best ground to resolve the little conflict in the roles of the NCC and the National Film and video Censors Board (NFVCB) is under one roof. Meanwhile, taking a look at the The Quartet (an association of the Nigerian Film Corporation, Nigerian Broadcasting Commission, NFVCB and NCC), the NCC is the odd one out. It is time all common-purpose agencies were brought under one umbrella and not play politics with productive initiative.

    Before now, the creative industry was crying over its inability to make international impacts having been restricted from treaties which is not within the jurisdiction of the Ministry of Information. Now that it is rightfully under the Culture Ministry, and everything is looking bright and beautiful, the NCC misalignment shouldn’t be the snag, and the AGF should in the interest of Change see to this.

    On the other hand, I find it quite appalling that PMAN is accusing the Minister of Information of stealing its idea of a creative industry summit. And I think that the crisis that has rocked the association for decades is now taking the semblance of a curse. Who will deliver PMAN from this seeming ancestral spell?

    When a PMAN faction that is yet to be accepted by all is seeking relevance by being controversial, then there is need to question the wisdom of its leadership. How can an idea of a creative industry summit be the exclusive right of anyone or an organisation whether they had forwarded it as a proposal or not? I cannot count the number of summits of that nature that have been held in the last 10 or 15 years, including the all-inclusive annual Nigerian Entertainment Conference (NEC) Series organised by my friend, Ayeni Adekunle Samuel through his NET publication.

    I was not invited to the recent Nigerian Creative Industry Summit but I found my way there. That is what every progressive mind should do. If recognition was the grouse of the leadership of the PMAN in question, they should have simply attended and added their voice, if indeed they have anything meaningful to contribute. Musicians have fared well without PMAN in fortune and glamour for over a decade of its crisis. This is no time for unnecessary attention seeking. If PMAN, which lacks rave-making members, can tell me how it is more relevant to an average musician than the CMO, I will rest my case.