Date Published: 06/29/09
Re: A Nation’s Identity Crisis, Still on Dr Reuben Abati’s article on Nigeria Music
By Chris Kehinde Nwandu
The write up by Dr Reuben Abati on the above subject matter made an interesting reading.
Not minding the barrage of attacks and reaction that has been generated by his observation (expectedly) from most Nigerian artistes.
For me, the write up should be seen as a wake up call to Nigerian artistes on the need to remain more creative in their acts.
Present generation of artistes only know Dr Reuben Abati as a writer and not a music critic, but that is far from the truth.
He has always been a creative and constructive analyst of the music industry way back.
That not withstanding, there are still some fundamental issues that were over looked by his write up.
First it must be acknowledged that hip-hop, as a form of music has become an international brand
Hip-Hop has changed dramatically what was considered to be violent and intimidating form of music. Hip-hop music has become the mainstream or the default musical setting of the culture. As a result rap is now used to sell everything from fast food to cars, brand marketing and used to gain access to youth in danger.
Hip-hop has gone beyond being just about music, but has actually become a brand, a lifestyle and an urban culture that almost everybody aspires to be associated with – even big corporate.
It is on this note that inevitably the rapper is now more than a musician but has become an entrepreneur that utilizes his or her craft to sell global brands of big corporations. Rappers are trendsetters; where they lead others follow. They can revitalize a luxury brand by making it seem youthful and individualistic.
Russell Simmons, founder of DefJam records, used his experience of marketing hip-hop to launch Phat Farm, which by 2003 had sales in excess of $260 million and was later sold for $140 million. Russell’s company, Simmons Lathan Media Group with access to 45.3 million consumers world wide spends $18.6 billion annually on hip-hop media and merchandise.
Forbes puts the value of hip-hop, as a music and lifestyle industry, at $100 billion a year.
Hip-hop has also become an effective tool to communicate with youth under siege, using the language they understand. Social consciousness hip-hop workers have used the microphone and their message to speak to the youth about crime, drugs and have conducted workshops in town halls addressing the youth about the dangers of dangerous living.
Global examples have been used where hip-hop has become an effective voice for the plight of the youth, where even politicians and business people have appealed to hip-hop to help convey their messages
Hip-hop can be used as a mobilising platform and as a practical tool in communicating with urban youth in their lingo and style.
Hip-Hop can be used as an entry point for mobilising and motivating urban youths to organise themselves and to engage in their own plans of action.
It is estimated that 80-percent of urban youth can be reached through Hip-Hop, which encompasses rap, graffiti, dancing and fashion
It has been established that Hip-Hop as a brand of music has its root from a fusion of mostly African contemporary music.
Expectedly, it goes without saying that being an Afro centric rooted brand of music, motherland Africa has a lot to contribute to what has become today the most popular brand of music in the World
Hip hop in Nigeria dates back to the late eighties and early nineties. Groups and solo artists during that period include the likes of Junior & Pretty, Daniel 'Danny' Wilson, Plantashun Boyz , Remedies with members Eedris Abdulkareem , Eddy Remedy & Tony Tetuila.
The late 90s and the early years of the new millennium saw the outburst of artists and groups like Eldee da Don of Trybesmen, Naeto C of W.F.A, JJC and the 419 squad and P-Square (d duo of Peter & Paul Okoye) became a part of mainstream Nigerian music after the collapse of pop trends like Yo-pop .
The availability of computers and cheap music editing software in the late 1990s and the 2000s enabled Nigerian musicians to achieve higher quality recordings, which quickly won over the Nigerian audience. As Nigeria's Nollywood movies have done to Western movies, Nigerian hip hop has begun to displace Western popular music.
Nigeria has grown over the years to become the 'seat' of Hip hop in the African continent.Contributors to this 'success' includes the production skills of the likes of ID Cabasa, OJB Jezreel, Paul 'Play' Dairo, Don Jazzy, Ugly Beatz, Y.E.M.I., Puffy T, Cobhams Asuquo, Terry G,Big Lo as well as outstanding performers like Tuface, P Square, D'Banj, Naeto C, weird Mc, 9ice, Sasha, Psquare, KC Presh, and others
With this as a background, it goes beyond saying that Hi hop, as a brand of music has become a way of life. An institutional change in the status quo as witnessed by “our generation” . If I may use one of the quotes of an artiste.
The Nigerian hip-hop artistes have become icons and source of pride to an Industry that was on its knees.
Before the advent of hip hop music, the lack of acceptable and marketable repertoires in the past contributed a great deal to the demise of such notable recording companies like Sony Music (CBS) Ivory Music (EMI) and premier Music (Polygram)
It understandable when Dr Abati raised some fundamental questions on the names of some of our current hip-hop artistes, but that is the vogue allover. As confused as a may be in trying to distinguish the name Asa and Shasha, but how many people knows the real of R Kelly, Akon, Beyonce, Usher, Shakira etc. It’s a generational change, which Dr Reuben Abati and i will have to accept.
I remember in our early days as members of the ever bubbling nite crawlers club of Lagos which Dr Abati, Jahman Anikulapo, Bob Dee, Mayor Akimpelu, Ali Baba, Steve Ayorinde, Kunle Bakare, Keke and D1, Kunle Onime, Morgan Okunnuga, Dayo Olomu and whole lot of our age group and egbons then were full members.
when 80% of music played are mostly foreign acts, same with air play on radios. That has changed dramatically. There have been several parties, nite clubbing and even radio stations that derive over 90% of their airtime from Nigerian music.
The Nigerian Hip hop music have taken off from where Hollywood stopped, presently it’s the biggest music industry in Africa that to me should be our pride.
The use of our indigenous languages by most of the acts should be commended, listen to Dbanj, Ay.dot, Nigga raw, Tuface, Psquare, 9ice, weird mc etc and you will understand what I am talking about.
Agreed that hip hop music has become an all comer affairs but you can be rest assured that with time, water will find its level
The only areas for improvement for now is that stage management.
Most of our acts lack that mannerism. What makes a complete artiste is the ability to command a live band on stage.
Most successful artistes all over the world take this very seriously.
The late Michael Jackson spent a fortune in his preparation for his last live performance that never held.
Until the Nigerian Hip hop artistes realize the need to effectively learn how to perform with a live band on stage instead of miming, they will continue to play at beer parlors and bars all over the world.
This is the reason why an organization like mine (Ikenga Entertainment Inc) is coming up with Afrihhop, an event designed to encourage stage performances to identify the real and authentic hip hop king of Africa.
In terms of lyrics, some of them don’t have any business in showbiz. You can not sound more American than an American. As I said, with time, the sheep will be separated from the wolves.
But for now, let the music play on.
Chris Kehinde Nwandu
Ex Artiste and Promotions Manager, Sony Music Nigeria is the CEO, Ikenga Entertainment Inc.
www.afrihhop.com
08037217013
