Talent in Nigeria is greater than in America Lillias Bode, Series Producer, Nigerian Idol

Lillias Bode with Timi Dakolo
For the on-going entertainment show on Nigerian Television stations, there is no doubt that raw talents will be smoked out of their obscurity from the remotest and tiniest villages. They will be sieved, refined, fine-tuned until they are made stars, and super-stars and their sonorous voices will one day, rule the world.

While these prospective award winning artistes are passing through the mills in the Ojodu, Ikeja-based Nigerian Idol studios, the only visible faces that are most commonly seen are those of the judges on the prime-time show while there are many other people who also see to the success of this show
Lillias Bode is one of those unseen faces. Although, she remains unseen, her voice is as important as some of the faces whose sense of judgement make or mar the contestants. Lillias, from South Africa is one of the technical minds behind the show. She is the series producer of the Nigerian Idol show.

Her romance with film and television started 30 years ago as a continuity girl. She progressed to production manager, and was a film editor at the South African Broadcast Corporation for about four years until she joined Peter Bode as a film editor and producer at Peter Bode Productions. Since 1997 she has been freelancing mainly associated with Videovision Entertainment as a Line producer and supervising producer on many of their television productions.
Recently, Woman of the Sun sought out Lillias Bode at their studios where she talked about the Nigerian Idol show and also bared her mind on her impression about Nigeria.
Here are excerpts:
Can you give me a sense of your background?
After graduating with a theatre arts degree I worked for several years in the South African feature film industry before joining the national television broadcaster as a film editor. I soon left and formed a production company with my future husband called Peter Bode Productions. We have been working together in the television industry ever since and have been lucky to have worked on most of the big television shows in South Africa
From what you have seen so far, what can you say about the Nigerian talents?
The Nigerian singing talent is without doubt amongst the highest in the world. I am sure any one of our top 10 in this season of Idols would comfortably have won the last South Africa Idol.
Would you say that you got the best people for the contest?
There are always people who are really good who slip through the cracks, but by and large we ended up with a really outstanding group of singers
From the 500 contestants you got from the different regions, do you think that luck has any role in the case of the final 10 contestants?
Yes, I do think that lady luck plays a part in any competition
Do you think that all the contestants, both those who win and the ones who pulled out on the way, have musical career after wards?
This is so dependant on the personality, drive and determination of each individual. We have seen internationally that the winners often fade away and those who came 2nd or 3rd do even better
From previous records, winners of such shows do not always end up taking music as their careers.

What do you make of that?
Again, I think it has to do with the committment of the winner. Everyone who enters these competitions thinks they will make a career of music if they win but that†is often not the case. Winning Idols is only the first step - the rest of the journey, up the ladder is up to each person’s own will and determination
Do you also not think that while screening the contestants that the best might have been lost while you were trimming down the number?
It is possible, but so much care went into the selection that it is unlikely. It is also very dependant on the taste of the judges and obviously some people got 2 or 3 no’s and did not make it through, but you or I may not have agreed with them

As a producer, what would you say are the major challenges in terms of infrastructure in putting up this show?
The most difficult thing about working in the Nigerian television industry is the scarcity of skills. The crews that we work with are all highly motivated and enthusiastic, but because the industry is so small there are not enough of them to go around. Specialised skills like set painting, video wall operators and count down production sectretary’s are very scarce and inexperienced.

How would you compare the discovery of talents in the American version of the show with what you have seen in Nigeria?
I think the talent in Nigeria is much greater than in America
Having been to Nigeria for about two years now, what interests you most about the Nigerian people and how do you feel being here?
WhatI love especially about Nigeria is the people. They are warm, welcoming, friendly, clever and what is so encouraging and heartwarming..... they want to learn, they get involved and listen with burning enthusiasm

What is your impression about Nigeria?
Nigeria is an irresistable country to live in - the pace is frenetic and the energy contagious. I think it is Africa best. If we could just get stable power and get rid of corruption I believe Nigeria will soar.
What Nigerian food do you like most?
I am addicted to jollof rice and yam chips! But I regret to say, all other Nigerian foods are very different and foreign to anybody who grew up outside of Nigeria.

You took up a Yoruba name, Bode, what influenced your choice of the name and in what circumstance did you adopt the name?
To be honest my name is not Yoruba - it is my husband’s surname and is of German origin! But we have now adopted it as a full Yoruba name and we delight in saying we are Nigerian because of our name! We consider ourselves very lucky.
Would you like to marry a Nigerian if you have not been married?
Definitely! I think Nigerian men are the sexiest in the world! Should I add.....In case he is listening .....after my husband.
 Source:234next

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And now, Algeria

So, on Saturday, the wind finally blew Algeria's way.

Bordered by Tunisia, where it all started, the so-called People's Democratic Republic of Algeria found itself shutting down Internet providers and deleting Facebook accounts across the country as thousands of protesters were arrested following street demonstrations.
No doubt taking their cue from the people of Egypt and Tunisia, the citizens took to the streets in the capital Algiers, demanding that the president - Abdelaziz Bouteflika, who has been in office since 1999 - leave office; this despite the fact that the government had initially banned the gathering and warned citizens against joining the protest.
The conditions that led to this final action are strikingly identical to those in other parts of North Africa where protests have threatened the status quo since the new year began: long-standing governance by state of emergency, and a ban on public protest in Algiers. In response, an estimated 26,000 riot police were set up to battle the demonstrators. There were reports of 400 people detained, others stopped from coming into cities, state-sponsored officials harassing journalists, and plastic bullets and tear gas being used to disperse those arrested during the five-kilometre-long march to 1 May Square in the capital's centre.
The Algerian government decided to wage a concerted battle against the Internet, and in a move to handicap the organisers and shut down their ability to communicate with the rest of the world the authorities closed down online access and stifled the demonstrators' ability to organise through Facebook.
Evidently, something is happening across North Africa that the governments couldn't have imagined - a people pushed to the wall and pressed to the ground have finally risen up to say enough of oppression and a government that has continually refused to acquiesce to the wishes of the citizens.
This is despite the fact that these are a people who have been scarred by conflict through their experience with the extremist Islamic insurgency in the 1990s that left hundreds of thousands dead. Indeed, Algeria has been a hotbed of political crises, defined by the decade long battle for power that lasted from 1992 to 2002.
But it was bound to happen. An oil rich nation, Algeria has the eighth largest reserves of natural gas in the world, yet the majority of the population - especially its young people suffer from mass unemployment, a housing crisis, debilitating poverty, all underpinned by political corruption.
The demands of the protesters are for an end to the government of Bouteflika and its 19-year state of emergency. Mounting grievances over the spiralling cost of food and unemployment finally exploded in the riots that began early this month, no doubt encouraged by public protests in Tunisia that forced its president Zine El Abidine Ben Ali to flee on January 14.
The Algerian government tried to respond by reducing the prices of oil, sugar and other basic necessities, and promising continued subsidies. Still the people remain angry and in the past two weeks, almost 10 martyrs have set themselves on fire.
This happens to be the second time this year that ordinary Algerians are taking their destinies into their hands. In January, at least five people were killed and 1000 arrested as citizens took to the streets. Now the February 12 Revolution - and the overflowing police cells - make an eloquent statement: when a people decide that they have had it, there are not enough army tankers to hold back the momentum.
Without a doubt, what is happening is a people-power uprising that comes from years and years of sitting down and taking it. As one of the protest leaders noted, "Algerians want their voices to be heard too. They want democratic change." Right now, the rally has been disbanded and a surface calm has returned to the country's capital, but as another protest leader told the media, in an ominous sign to dictators all over the continent: "The fear is now gone," he said.
Algeria's president should pay attention to these words. If not, he will soon find out what Mr. Mubarak did too little too late - that the change this time, is inevitable. Resistance is futile.
Source:234next

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DR. VICTOR OLAIYA REMINISCENCES (1) The story of my life, my music & my women

Olaiya...Music runs in the blood of my family and so I inherited it.
They call him Leading Gentleman.
The meeting had to be squeezed into his very hectic schedule as he prepared for his 80th birthday.  He was born on December 31, 1930.
For Dr. Victor Abimbola Olaiya, OON, whose wife also goes by the very coincidental name of Victoria (Victor/Victoria), God Almighty has been kind to him, life has been good to him and he has been good to life.
This would not be an interview that you would be found wanting conducting but the question kept resonating: How do you interview an 80-year-old man who is neither a politician nor a political scientist nor a public office holder on whom venomous vituperations could be heaped regarding the state of the nation.
Victor Olaiya, just a jolly good fellow, a highlife musician of seemingly unsurpassed quality – at least in this clime – would still need to talk.
And, as usual, questions beget answers and answers beget further questions, we set to do the job.
Olaiya came across as a very humble, very lively, yet complex individual.
The complexity of this persona is ingrained in the way he sees life, what life has done for  and to him, as well as the simple, nay simplistic approach he adopts to life.
He became a musician by default after his uncle with whom he was living with in Owerri, decided to become despotic with Olaiya’s father’s properties.  This led to litigation.
Olaiya, then just 12 years of age was asked:
“So, sorry sir, why would a 12-year- old boy be interested in his father’s estate or property or will? What actually happened?”
The response was a long one.
Then, there was this aspect of a very rich man in Nigeria of those days whose name was Da Rocha and who was in the company of other rich men who wanted to buy a property at Tinubu.  Victor Olaiya’s father, Alfred Omolona Olaiya, beat them all to it and this created anxiety: Who the hell is Alfred Omolona Olaiya? They asked.
The building remains a monument and still stands.
According to Olaiya, when asked how much the building cost at that time and what year it was “I cannot recollect.  The house is a hundred and something years old now, so, I can’t recollect how much it was sold for.”
But, the anxiety was not just because Olaiya’s father bought a building and beat other Lagos big boys to it, it was the fact that he was not present but gave a blank cheque to his lawyer, the late Taylor, who bided in his absence but only filled in the agreed fee for the house in the cheque.
The interview would be a two-part series.
During the interview, the way he clutched the trumpet demonstrated that here was a man who loved his trade. There were laughter aplenty all through the interview.  He also spoke about the ‘Cherikokos,’ to whom he dedicated some tracks.
The second part is as interesting if not more interesting than the first part.
Take, for instance, the following tips coming your way next week:
How many musicians have passed through Dr. Olaiya and who are they?
He almost abandoned music because of one incident: What was it?
He almost lost his life at a point but one kind-hearted Lagosian saved his life: Who was that?
You would be shocked to read about the Greatest thing “I would have loved to do but which I do not see myself achieving.” What would that thing be? It would shock you.
But, enjoy this, yet.
And, to Dr. Victor Abimbola Olaiya, OON, we say, Happy Birthday @ 80, Sir.
Excerpts:
At exactly what age did you start handling the trumpet; not music, but the trumpet?
I started at the age of 16, in 1946.
Just after the Second World War! 16?  And, I’m sure that from then on, there would have been no day when you did not engage this trumpet…
Very rarely! I don’t think so!
What led you into trumpeting?  How did that contact emerge?  Some other people would have loved the drums or some other musical instruments?
I will start by saying that my father, Alfred Omolona Olaiya, was a church organist – African Church Hallelujah in Calabar.  He was handling prison contracts there after retiring from the Nigerian Army after the Second World War.  My mother – Bathsheba Owolabi Mota’jo, happened to be trading with my grandmother in Calabar.
My mother happened to be the leader of the Yoruba native cultural group, a coincidence of a life time, the two of them met and this accounts for the fact that music naturally runs in the blood of the family and must have inherited it.
I was at African School, Onitsha, on Iweka Road, opposite lawyer Mbanefo’s house. I happened to join the school’s brass band.  I had that inclination but the vacancy then was for somebody to play on the B-flat baritone horn; I graduated to the E-flat French horn, but with a B-flat mouth-piece, so, it was easier to graduate to the next level of the B-flat cornet and to the B-flat trumpet.
This was before I came over to Lagos where I played in so many street bands, one of which was the Cocoma which appears to have been replaced now with the Boys Brigade.  Then, I was earning a salary of One Shilling and six pence a month.
For some of those who would be reading, what would that translate to in today’s naira?
(Long laughter) I don’t know.
But ,what could that buy for you and how long did it last?
I was using it as pocket money and it lasted a whole month and sometimes more, with a nephew of mine who lived with me, as well as the late Bala Miller, who also lived with me in my father’s house in Tinubu.  After Miller’s school certificate days, he would just pick up a job and drop it because of his love for music.
When did you move back to Lagos?
I moved into Lagos in 1946.
Looking back from your days in Calabar to Onitsha through Owerri and then in Lagos, something must have shaped your life in such a way that would have led you straight into music.  What would you ascribe it to, apart from your joining the brass band in Onitsha, there must have been one life-changing experience?
I think I fell out with my late uncle,
S. O. Rotibi (Ogunmoroti) who was the administrator of my father’s will – he was my father’s junior brother.  By accident, I fell out with him and I had to leave Owerri. I was in a Roman Catholic school in Owerri then but had to leave and move over to Onitsha.  But for that disagreement and but for that movement to Onitsha, I wouldn’t have been opportuned to join the school band. My mother gave me free hand and she wouldn’t ask me not to do whatever I wanted to do because she believed that playing music would not lead me astray.
I would say that the sudden and sharp disagreement threw me out of the family compound to Onitsha. I moved to Onitsha in 1942, I was in Standard Two and by 1946, I had moved to Standard Six when I joined the school band.
Sorry, sir, in 1942, you would have been 12 years old, if I’m correct?
Yes, just a small boy then.
So, sorry, sir, why would a 12-year- old boy be interested in his father’s estate or property or Will? What actually happened?
It’s a long story.
Some of my elder brothers who had passed out of King’s College were doing fine and, in fact, one of them, Omolehin Olaiya, who was then working in the Passport Office, was the one who issued the late Dr. Nnamdi Azikiwe his Nigerian passport with which he travelled abroad in those days.
What year was Dr. Azikiwe given that passport?
Ah! I cannot remember because it wasn’t I who gave him that passport.
Back to the story of how a 12-year- old boy got involved in property matter…
(Laughter)  I had big brothers who had sons who were older than me, but they had no option but to call me ‘uncle.’
They were enlightened and had to wrestle the estate from that my uncle through the court. The father of the late JIC Taylor, a former Chief Judge of Lagos State, who was also a lawyer happened to be the lawyer to my father.
We have a building overlooking Tinubu Fountain and it remains a monument.
The building was bought much earlier in the 19th century by my father who was doing well in his bar business where he was selling liquor to soldiers both retired and serving – in Calabar.
That building you are talking about is opposite Bamgbose Street.  How much was it sold for to your father at that time?
I cannot recollect.
The house is a hundred and something years old now so I can’t recollect how much it was sold for,
But, let me even tell you what happened when my father wanted Lawyer Taylor to buy the house for him.  It was through a bidding process.  There were many rich men present at the bidding place and each had come with his money and high hopes that he would buy the house.
What my father did was to sign a blank cheque and sent it to Lawyer Taylor – a blank cheque – with the instruction that he should buy the house for him. He sent the blank cheque through his driver, Baba Laisi, from Calabar to come down and give to Taylor.
There were many rich men there that day and among them was this popular rich man, Da Rocha and a few others.
During the bidding, they were all surprised when the bid kept going up and up and at a point they simply sat back because nobody knew who my father was.
Then, there was a silent conspiracy, as if to say, ‘let’s leave him to keep bidding and we’ll see how he would be able to pay for the house.’  And, you know, thinking that my father or that the man with the name Olaiya would end up coming back to beg them or even resell the property to them, they refused to continue bidding.
And, so, that was how the bell rang and they said Alfred Omolona Olaiya has won the bid and people still continued asking, ‘who is this Alfred Olaiya’?
People like Da Rocha and a host of others who were there were just watching and according to Lawyer Taylor, all that was on their minds was that ‘where would he get the money to pay’?
Suddenly, Lawyer Taylor entered the agreed figure into the checque and handed it over to the auctioneer and again, another round of agitation: ‘where is Olaiya?  Who is he’?
And, Taylor told them that he was in Calabar and that was the end of the story and that was how we bought the house.
Who is administering the House or the Estate now?
I am the one, as young as I am now at 80; I am the one administering it.
Going back to the story of the family problem!
My family had money but that my uncle was mismanaging proceeds from that estate because my father had many houses in Calabar, Aba, Owerri, Oron, Oturkpo and Onitsha and, of course, Lagos.
Your father alone or his father or the family?
My father alone! He was a very rich man, very, very rich man.
In terms of my age and involvement in the property, we were all brought to Lagos to come and attend the court proceedings.
I was very young and I wouldn’t know what was happening, my brothers won.
How many children did your father have?
(Laughter) 24 children and I am lucky to be the 21st.
Can’t you see I tried?
After that my uncle lost the case, he just thought it proper to do away with most of us who were living with him in Owerri and that was how my mother sent for me in Onitsha and it was there that I met this fortune called music.
It was in Onitsha that I joined the school band.
But, in late 1946, my mother had to send me back to my brothers in Lagos.
Okay, there were 24 of you from your father; how many have you made, without prejudice to the Yoruba proverb that ‘you do not count children for the owner’?
Well, it is true. But I would have thought that I have 13.
The 13 children are they from Mama alone?
No.  They are from my various Cheri Kokos.
Source:vanguard

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How Late Alhaji Sikiru Ayinde Ololade Barrister died

Late Alhaji Sikiru Ayinde Ololade Barrister
When the news hit the streets, it was a rude shock to many especially members of his immediate family.
It was totally unexpected that Alhaji Sikiru Ayinde Ololade Barrister, the grand master of Fuji music was dead. He died after a protracted battle with diabetes and hypertension, family sources had hinted.
Many who didn’t believe had their worst fears confirmed last Thursday, when his remains were finally brought home from London for burial at his Isolo, Lagos home.
Just how did the Fuji Lord die?
Showtime investigation revealed that the Alhaji Agba as the fuji maestro was more popularly called may have died of exhaustion.
According to our source, Alhaji who had relocated to the London home of one of his wives called Mummy Danjuma from a German hospital, suffered a relapse few minutes after engaging in multiple international calls to some of his children and close associates.
One of the sons, Suleiman had confirmed to Showtime in an interview that his father spoke to him for more than two hours, few hours before his demise.
Following the relapse, our source revealed, he began to vomit. And when the vomiting session stopped, the family went to bed believing it was over.
But a few hours later, he began vomiting again and at this point his wife called in the ambulance service that rushed him to  St. Mary’s Hospital in Paddington, London, where he died a few hours later.
So much was said about the true state of health of the Fuji music maestro, Ayinde Barrister.
And at the peak of the rumours, he was reported dead even when he was recovering at the University Hospital in Cologne German Hospital where he was flown to, on August 21.
During the period, his son, Olashile a student in one of the Germany  Universities who spoke to Vanguard in confidence said “My daddy is okay. He would have loved to chat with you right now but he is being attended to by a doctor. Perhaps, if you could call back, you may be lucky to speak with him.”
Earlier, Alhaji Lati Alagbada, the Chief Executive Officer of Lati Alagbada records on whose label the fuji maestro is signed on and who also confirmed speaking with the fuji musician said ; “ I have just finished chatting with Alhaji. He sang and praised Allah for keeping him alive”.
Alhaji Agba as the Fuji giant was fondly called by friends and fans, was flown to the German hospital because of his sudden loss of weight from 140kilogrammes to below 75kilograms. The weights loss our source revealed grossly affected his ribs
A regular guest of doctors the ‘General’ had visited many hospitals in search of solution to the injury he sustained on his leg during his days as a soldier in the Nigeria/Biafra civil war and which had refused to let up.
It was in continuation of search for medical relief that he traveled  to India.
Source:vanguard

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Judges’ wildcards save AJ, Toni, Chito on Idols

AJ, Toni and Chito
As days turn into weeks, and weeks into months, Nigerian Idol keeps proving to viewers that the show is different from any other talent hunt to ever hit Nigerian TV.
Last week, the judges made public their displeasure on how viewers have voted, “I think they are a number of talents that the audience disregarded” Audu Maikori said during the last eviction show where Alex and
Onyeka emerged with the highest votes. So, it didn’t come as a surprise to many last Sunday when with mischief written all over her face, host Misi  announced that “Make sure you don’t miss the show this Thursday. The Judges have decided to exercise their power, and we hear someone might be returning to the show”
And true to her words, this Thursday, six contestants- Immaculate, AJ, Tonii, Chito, Amadi and Rachael faced the judges for a second chance to be on the show.  There were no performance, no renditions. The judges deliberated for a few minutes, and selected the contestants they would love to bring back into the competition.
“It’s a tough decision to make; all six contestants are talented, so sad we have to pick one each” Jeffery Daniel says before selecting AJ whose eviction two weeks back generated a lot of news interest.
Daniel obviously had three favorites out of the bunch- Immaculate, Amadi and AJ, but for ardent followers of the music reality show, it wasn’t entirely a surprise to see him pick the 23 year old
undergraduate of University of Calabar.
Audu Maikori on the other hand has continued to acknowledge Toni’s talent, so bringing her back didn’t come as a shock to many. All through her last performance, the cameras won’t stop catching the glimpse in his eye as he kept on nodding his head. “For someone to sing like that even with a cold, there’s no doubt to your talent” He finally said after her spectacular performance.
The wild card which sees three evicted contestants return to join the10 finalists is part of the Idols format which states that six or even more contestants may be brought back to the competition.
Source:vanguard


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D’banj, Banky W slam for maltina

 Nigerian hip-hop act and ‘falling in Love’ crooner D’Banj, Banky W and a host of other music artistes would take centre stage as leading first home brewed non-alcoholic malt drink Maltina unveils its new look and new pay-off line.

The new look and pay-off line “Sharing happiness” are both part of a brand proposition rejuvenation process designed to ensure Maltina remains connected to the sophisticated and savvy 21st century Nigerian consumers.
Sources close to D’Banj and Banky W said the stars have promised in their delectable manner to thrill the audience with their hit tracks. The source also said that D’Banj will be there with his Mo Hits crew as usual.
According to Mr. Jacco van der Linden, Marketing Director, Nigerian Breweries Plc, D’Banj, Banky W and others were invited to take centre stage because Maltina, a very lively brand is interested in sharing happy moments with its teeming consumers across the country.
He stressed that the event which will attract A-list celebrities across the country is meant to be s show stopper which will be indelibly imprinted in the minds of Maltina consumers for a very long time.
Source:vanguard

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Misi goes missing in action?

Misi
It’s been four weeks since the show started proper, and if there is one question most viewers want to know, it is-Why has Misi been relegated to coordinating just backstage interviews?
Up until December 2010, Yemisi Fajimolu was an OAP at a Lagos based radio station, and many of her followers on radio were looking forward to seeing her on the Nigerian Idol stage.
But when the Nigerian Idol top 50 phase first aired on December 17, 2010, it was to a reserved Misi announcing that “For five weeks, I will be interviewing the contestants backstage. Every week, eight will leave and two will stay”.
It remains uncertain if the decision was from the Idols team or from Misi, but going by her tweet on Monday January 10, 2011 “I love the entire Nigerian Idol contestants, seeing them go is not funny at all. They work hard, and when you see all the work they put in, you can only root for them”, it appears that Miss Fajimolu has built a tie with the contestants these past weeks.
Misi’s association with Nigerian Idol started on September 21, 2010 when she was announced host at a world press conference held in Lagos. But the licensees of Idols in Nigeria introduced a co_host Anis Halloway during the Enugu auditions in October.
“Misi has a soft spot for the contestants, and it’s just normal for her to be close to them. Most of them will easily talk to her and tell her their fears” Adaora Mbelu Communications Manager at Optima Media Group says
Just before contestants leave for the big stage, Misi speaks to them and tries to ease them of the stress while Anis introduces them on stage. It is not clear when or if she will be returning to the stage as earlier promised by the organizers, but there are speculations that they are saving her for the final phase
Source:vanguard

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CapB celebrates with new single

Suave rapper and songwriter CapB, real names Akingbenga Akinyemi, who recently relocated back to Nigeria from United States of America to work on his album project, is out with two new singles “Workaholic” featuring popular act YQ and “Jaiye” featuring Fullstop.
“Workaholic” and “Jaiye” are two singles off the album project and there are still much more to come from this promising, bright, young Nigerian talent who is in like Flynn.
With collaboration efforts already in place with international reggae artiste Vybez Kartel and other prominent artistes Pan Africa. CapB who attended Lagos State model College Kankon and proceeded to the United States of America to study International Business and Business Administration at Kean University USA.
He intends to exploit all the business angles of music and his talent to create employment opportunity for the youths with a dream to become world’s most entertaining MC.
So it’s no surprise that his musical influences are Akon, Jay-Z and Fela.
Source:vanguard

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Glo Rock ‘n’ Rule kicks off

wande Cole
The much awaited Globacom’s youth engagement programme, Rock ‘n’ Rule concert, will kick off on Saturday, January 29 in Enugu.
A cast of top rated music and entertainment stars have been lined up by Globacom to perform at the concerts in Enugu and nine other cities across Nigeria. A beauty pageant to pick Mr and Miss Rock ‘n’ Rule in each of the cities will also be held during the concert.
The concert has already been generating excitement among the youths in the Coal City who are the primary target of the ’funtainment’ package. The Mr. & Miss Rock n Rule contest in particular has generated an unprecedented interest among youths who registered and trooped out for the screening exercise.
Ten pretty, bold and sassy ladies and 10 confident young men have been selected among the thousands of youths who showed interest in the pageant. The winner in each category takes home the sum of N250,000 while the runners-up will receive N150,000 each. The second runners-up will get the sum of N100,000 each.
Globacom has promised that the Rock ‘n’ Rule concert, the biggest and best free youth-focused show in Nigeria will be another beautiful experience that will resonate with youths across the country.
Artistes on tour with Globacom on the project include Wande Coal, Chocolate City Boys (MI, Jesse Jagz, Ice Prince), J Martins, Freewindz, Weird MC, Flavour, Terry G, Dr Sid, Chidynma, Pelagie from Benin Republic and Glo Naija Sings winner, Casey Edema. DJ Jimmy Jatt will also be there while the show will be anchored by Basket Mouth, Okey Bakassi and Gbenga Adeyinka.
Source:vanguard


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Fan taunts DoktaFrabz over Omawumi’s pregnancy

pregnancy.

Since it became public knowledge that sultry singer and West African Idol runner up, Omawumi, is pregnant, a few people who are probably unaware of the fact that the singer broke up with her former producer-lover still think the latter is responsible for the singer’s state.
The ex-lover, Dokta Frabz, was taunted by a follower on Twitter on Tuesday in relation with Omawumi’s pregnancy. A certain handle, @jim69jo tweeted: “@jim69jo: @doktafrabz u did not only produce 4 omawunmi now she’s gonna reproduce 4 u” and @Doktafrabz replied “U must be very funny in ur dreamz”
All that is known about the father of Omawumi’s pregnancy is that he co-owns a night club in Lagos. DoktaFrabz on the other hand has reiterated that he is not responsible and has maintained working relationship only with the singer since they broke up. Omawumi is in her first trimester of
Source:vanguard
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Oh dear...! Miss K at the Future awards

Miss K, a singer, model, actress and humanitarian wore this outfit to The Future Awards last week. Miss K, born Karina Theresa Martinez, is half Caribbean, half Spanish but considers herself an international citizen. And frequents Nigeria.

What you think you are seeing is exactly what you are seeing...:-) If you're not convinced, then check out more pics after the cut...

Read more about her on her blog...Miss K's Blog
Source:delight




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Krismas fo Naija

 Few days from today, it will be Christmas; a Christian festival celebrated worldwide in honour of the birth of Jesus Christ who died on the cross sins taim imo riva. Christmas is in the air.

How do we say it in Naija langwej? Why bother about how to say it in awa langwej? It is important because it enables us to deeply reflect on our peculiarities as a people; it provides a ready guide to celebrating krismas fo Naija.

Right now it is common to hear people say, “Christmas is in the air” which in local parlance means, “krismas de flai fo evriwie”, “krismas don rich graund”, “krismas de smel”. The sweet smell of Christmas, like the monsoon breeze, is already blowing across the country reminding Christendom of the D-day: December 25.

It is the desire of all to have a fun filled and memorable Christmas celebration. Since wishes they say were never horses, beggars were never expected to ride on them. Therefore, while some are working out how to celebrate Christmas in style, there are many who are bogged down by thoughts of the day’s meal and probably how to pay the next term’s school fees.

For this category of people, Christmas is not a priority on their “must do” list. Painted differently: as Mista Peter de arenj hau im go tek enjoi krismas, Mista Josef de krak im bren fo hau im go tek setul im bele an im pikin moni fo school fo Januari we de kom. As a matter of principle, there are others who would say they can’t “waste” dia taim thinking about Christmas because for them, it’s “just another day” that will naturally “kom an go”. From such people come comments like; “wetin konsain mi wit krismas?” And the question that usually follows is “hau wi go du am?” which continues to dominate discussions bikos eviritin get as i bi.

There are some Christians like the members of Jehovah’s Witnesses who by their doctrine don’t celebrate Christmas. As we say, evribodi get im stail bot wi nou se if graund levul, nobodi we no go laik to enjoi.

Simply put, Krismas fo Naija means celebrating Christmas in Nigeria; home to the happiest people on earth. One expects nothing but the best from Nigerians whenever there’s cause for celebration. Irrespective of faith, the people of Nigeria are usually united in making every celebration truly memorable.

It is against this background that on the day of any religious festival in Nigeria, Christians and Muslims as well as members of other faiths happily converge with family members in numerous parks, gardens and other venues with family in the spirit of the season. Only recently, Muslims and Christians celebrated the Muslim Eid Kabir religious festival in one accord. As krismas de kom, let’s come together and do what we are known for; enjoy to the fullest with the fear of God.

If what is good for the goose, as they say, is also good for the gander, it behoves us to go into every season of celebration with a general sense of sharing and feeling of consideration for the less fortunate. In this spirit one does not have to be a Christian to lend a hand of support to the person celebrating Christmas. As a Muslim or member of any other faith supporting a Christian at this time is a very good idea because your reward would be bountiful. We are basically a socially- supportive society where one’s true worth is measured by the number of people one has supported or is supporting. The promotion of our values of “family-support” is a major reason why we are still the unique people that we are.

Abeg, no bi evribodi hol pepe. So dia fo, no foget yo nes door nebo, no trowe fes fo pesin we yu nou se graund no levul fo. Givers they say never lack.

Happy Xmas and violence free 2011 in advance.

Mr. Oribhabor is a promoter of Naija (Nigerian Pidgin) and resides in Abuja.
Source:234next.com Read more...

Sikiru Ayinde Barrister is dead

 Sikiru Ayinde BarristerSikiru Ayinde Barrister
Fuji music legend, Sikiru Ayinde Barrister, is dead. He died on Thursday morning at Saint Mary Hospital, Paddington, United Kingdom. He was 62 years. More details later.
Source:On set 


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Hulk Hogan remarries

 Hulk Hogan (57) married his girlfriend, Jennifer McDaniel (35), at his Clearwater Florida Home on Tuesday Dec 14th, 2010.
Source:On set


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Kelani goes back to his roots

Tunde Kelani shoots Ayomide Abati (as Young Kashimawo) and Funke Akindele (as Ma’ami)

Foremost cinematographer in Nollywood, Tunde Kelani, bounces back from the setback of the heavily pirated ‘Arugba' with a new film, ‘Ma'ami', starring Funke Akindele. In this interview with NEXT, Kelani talks about the making of ‘Ma'ami' and his plans to get the film to the masses.

How did Arugba do commercially?

‘Arugba' is a flop. There is no doubt about it because we were really modest in our expectations; we bought the recommended holograms, 100,000 from the National Film and Video Censorship Board and we didn't sell 50,000. We still have thousands and thousands of copies of the film. There is no way we can sell with that level of piracy. Right now, we have in our possession three pirated versions and then one London pirated version. All our films have been pirated but there had never been such an orchestrated attack, like that of ‘Arugba'.

How do plan to forestall this with your forthcoming film, Ma'ami?

I think that generally this is a reflection of the Nigerian society. The industry is suffering from lack of the necessary infrastructure so this is going to go on for a long time. I don't believe the government at this time has the capacity to deal with it, especially now when elections are coming. If I carry a few samples of pirated films to any police station, I'm sure that I will meet more difficult issues that need the attention law enforcement agencies.

We have to adopt the physical division model in Nigeria where I have to release VCD or DVD and we have to physically move it from region to region, town to town.

Broadband internet access is at the moment less than two percent penetration in Nigeria. So, that suggests that we have to do physical distribution for a long time. The desperation in piracy since ‘Arugba' has gone worse... I understand that in the market today on any release, in the evening of the same day the pirated versions will come in the market. It suggests that there is no way we can risk physical distribution of ‘Ma'ami' so we have to come up with another model for making sure that it gets to the people.

Can you talk about your new strategy?

I'm passionate about reviving the cinema going culture. That's why I initiated the mobile cinema project and I got support from the Lagos State Government. We screened ‘Arugba' in the 57 local governments and development areas of Lagos State. We took the film on the road and it showed free, in the open air to Lagosians. I've been toying with the idea of developing at least 30 cinemas in Lagos State, working with the local governments. I'm already in discussion with the Association of Sports Viewing Centres in Lagos State and I'm hopeful that perhaps we can put together a chain of 200 such centres. Secure, comfortable centres that can seat a minimum of 100 people. This way, I plan to take the film to the grassroots.

What about the rest of the country?

First of all, my focus is on Lagos State because it is viable and accepting; and we have Governor Babatunde Raji Fashola who is keen and he's been very encouraging and supportive. If this model works in Lagos State, then we can explore the possibility of exporting it to the whole of the South West and by extension the whole country.

What can be done to widen the acceptance base of the Yoruba film?

I don't think that's a problem because now we are moving into the area of indigenous cultural expression. Countries like China, Japan or India for instance, how [have their films] been accessible? The whole world has been waiting, but the film has to be of a reasonable quality and standard. Japan and India [make] films of quality standard, so that's all we have to do. Already, some of the films we have produced (at Mainframe) have been subtitled in English, French and in the case of ‘Saworoide', we did a Portugese subtitling. So that's what we should do. Of course, I will be excited about the possibilities of meeting a great indigenous cultures like, for instance, Japanese and Chinese, rather than looking to following Hollywood. So for me, Yoruba cinema has a great prospect.

You've been filming ‘Ma'ami' with Funke Akindele, Wole Ojo and the young man you are introducing to cinema for the first time, Ayomide Abati. What has that experience been like?

Filming ‘Ma'ami' is exciting because it has some element of my childhood in it. For example, when we combed the whole of Abeokuta looking for a primary school that has a football field, I realised it was becoming rare because education standard has fallen so low that they don't consider such development part of education anymore. I had to return to my own Oke-Ona United Primary School in Abeokuta and luckily we still had a kind of a field that we used 50 years ago. It's still there but in bad shape. The buildings are still standing although they are crying out for [renovation].

Again, we scouted for possible appropriate locations but we didn't find any, so we had to return to my own family compound; and for me it was like going back home. We had to repaint all the houses in the neighbourhood and our single interior set for Funke Akindele and the boy actually was shot in our own house. I found a boxfull of documents which my father had kept away. Going through these documents, I found a Christmas card that was sent to me in 1960 - from a girl and it was ‘With love from Yetunde'. I couldn't even remember who it was! It was going back to my own childhood and my own neighbourhood and I knew the terrain like the back of my hand. That's why making the film is special to me, I could see things from my growing up years.

There were reports you had dropped Funke Akindele from the film but she's still in it. What actually happened?

It was a misunderstanding. After I had talked to her and released the script to her, I was coming from my ophthalmologist and there was a video shop. I saw the poster of a film called ‘Iya Mi' and it was Funke Akindele on the poster. I was shocked because of the closeness between the titles, ‘Ma'ami' and ‘Iya Mi'. For a moment I was concerned that it might mislead some of the audience because I had received a few calls from people asking me if the film was out. I was apprehensive that ‘Ma'ami' might be mistaken as Part two of ‘Iya Mi'. I sent for the film, I saw it and what I saw was that Funke was not even playing the mother in the film, she actually played the daughter.

I thought something was funny... I decided that we were going to change her, to do another film entirely. She heard this news and came to me and explained her own side of the story. I thought Funke needed the film, she wanted to do ‘Ma'ami'. I thought she genuinely wanted to be in the project and I was convinced.

Of course, there is a reason why I decided to work with Funke Akindele because I have followed her career closely; and in (my films) ‘Narrow Path' and ‘Abeni', she had played minor roles, supporting roles. I was waiting for the right story to cast her. What was strategic for me, it was not a glamorous role and in the film, she had a change of costume only once; wearing the same thing again and again. She's not the glamorous star that everybody expected. I think this was a challenge for her and she had to play convincingly the mother of a 10-year-old.

And the young man that you cast as her child - you know what they say in Hollywood: never work with animals or children. How was it?

Ayomide is a child in the neighbourhood in Oshodi where we live, he's quite lively and gets along with everybody. But my worry... at this point I have to appeal to parents because we are gradually getting to a point where it is becoming very difficult to find young or adult Yoruba actors and actresses who can speak the Yoruba language. I think it's becoming a challenge. For about two or three days, we were really disturbed - both the young Kashimawo (Ayomide Abati) and the adult Kashimawo (Wole Ojo) - because it's now a problem and this is a result of when consciously parents discourage their children from speaking their own language or practicing their own natural culture.

I think that's the result of an identity crisis and we had identity crisis on the set. I think that Ayomide has learned from that experience and I think he will be redeemed. But I think it's a crisis in the Yoruba nation. There is no doubt in my mind that the children of the elite and the lower class no longer speak Yoruba in their homes. I doubt even the lawmakers, if any of their children speak Yoruba at home.

Can you tell us more about the making of Ma ami from a filmmaker's point of view?

I think ‘Ma ‘ami' is the beginning of another era because we are at a point now in digital media where we have access to great technology and it is the first and only film that I have shot digitally in what can be called 35 mm. You know they talk about shooting 35mm celluloid; this is the digital equivalent of it. In other words, we shot in 4K-to-a-35mm-censor. I think this is exciting. It is just like when I discovered photography in those days when I was young, I was excited every day of my life. Now, I'm excited all over again because of the various possibilities in the delivery of the content.

If there was demand and corporate sponsorship, we could get a 35mm print in celluloid for cinema release and we could do digital projection on any of the four formats since our original format was resolution 4K. For me, this is as topmost as you can get and I am happy I was supported by at least four companies. ‘Ma ‘ami' is a high-low budget film. It [cost] around 150,000 dollars, but I'm hopeful that it will be worth something like 700,000 dollars. I have the objective to achieve more with less.

When can we expect to see the film?

Work is going on on ‘Ma'ami' everyday and I still have some bits to shoot. We designed it in such a way that we rigged an editing system, work is going on everyday. We have a digital laboratory and presntly we are doing our first primary colour correction and then encoding into the editing format. The rough cut of the film is almost complete.There should be a workable version before the end of December because for Funke and some of the various expertise on the film, I have to enter the film for the Pan-African Film and Television Festival of Quadadogou (FESPACO). I think I'll be in time to enter for AMAA which closes December 15.

You have been able to sustain a blockbuster career, what are you doing that the other filmmakers are not doing?

I don't think the films can really be called blockbusers but at any time, they meant something. They show a progression and at any point, they have been experimental either from point of technology or digital media. If I thought that the future of African Cinema or world cinema will be in digital media, then I think I'm right because officially the year 2010 has been mooted by experts (as) the death of the chemical process of making films.

The collection of films that I have made have been successful , both universities both home and abroad use them as resource. Particularly for ‘Arugba', there have been one or two universities that ordered copies for African Studies. For me, that has been a kind of satisfaction and encouragement.

You relocated to Benin Republic where you shot the ‘Abeni' series and the ‘Narrow Path' but you are back. What happened?

I couldn't relocate totally because I'm one of the people who subscribe to the notion that ‘ibi ori dani si laagbe' and it was clear throughout my career that I had options of staying abroad. I am happy and grateful to God that I have been created in Yorubaland and so far He has made it enjoyable. It is exciting for me, not only Yoruba culture but all Nigerian cultures. What happened was that I went there to see the Yorubas staying there and see how they are faring.

I didn't stay just in Porto Novo, Akete, Isede, Pobe, Ketu; I went as far as Dassa up north , Sabe. I did spend quite some there, about three years. If you watch the ‘Narrow Path' for instance, the marriage scenes, where they sing marriage songs, that is the song in that community. It shows that this is Yorubaland and these are Yoruba people. That was really exciting for me and obviously we reaped good things because the experience kicked off the Beninoise film industry. Now, they make a lot of home videos just like in Nigeria. I believe that our cooperation started that film industry up to a point that they make films regularly and I am not needed anymore.

Why don't you do collaborations with other filmmakers?

It depends on the project. For instance, I would gladly co-produce any Nigerian film from other cultures if they will do things from their vast literary resources like ‘Danda' by Arthur Nwankwo or any of Cyprian Ekwensi's or any of Chinua Achebe's work. ‘The Passport of Malam Ilia', things like that. Most of [Mainframe's] works spring from literature because I read a lot when I was young; I love novels and literature and I will be willing to work with [other filmmakers]; it depends on the orientation, if they want to follow Hollywood. I don't want to follow Hollywood, I'm an indigenous filmmaker, I believe in telling our own great stories and finding expression and taking the audience through my own cultural background. So I'm not really comfortable making a film the Hollywood style. The prospect of a co-production where Samuel L Jackson will play Sango, I don't think it excites me.

Or because I want to penetrate international or American market and I would use Danny Glover as Kabiyesi in my story. That's not quite what I want.

Mainframe recently collaborated with NANTAP and Dance Guild of Nigeria to stage ‘Yeepa! Solarin Nbo'. Can we expect more of such?

Yes, theatre has always been my passion because when I was in Form Two at the Abeokuta Grammar School around 1963, I was part of the excursion team that travelled all the way from Abeokuta to watch ‘The Palmwine Drinkard' at the 0bisesan Hall in Ibadan. It was a privilege watching Kola Ogunmola on stage and it was a production of the University of Ibadan. It was the first time I sat in a theatre where I witnessed the effect of lighting; when the light changed to black or came on, my head was this big. It must have made a lasting impression on me. Again, I was privileged to have [seen] all the great plays, like ‘Oba Koso' and ‘Kurunmi', for instance, and ‘Danda'. For me, it's seeing those people live on stage, appreciating them. Sunny Oti, Shodipo. The thrill I got looking at Duro Ladipo on stage or Ogunde on stage, I thought they were not human beings. It's a disaster that we have not documented any of the great classics, so I would really have loved to do ‘The Palmwine Drinkard' on stage for the 50th anniversary of Nigeria Independence but of course we couldn't because of the shortage of time and then Lagos State came in at just the time for us to stage ‘Yeepa! Solarin Nbo'.

What was exciting for me is the the possibilty of doing the standard Yoruba presentation where you do an opening glee, because the Yoruba theatre which has influenced me was ‘Total Theatre'. Before we watch the play they will do an opening glee which is a song and dance routine - perhaps a summary of the whole play in dance. And at the end of the day, they will do a closing glee, so I conceived that and wanted to work with NANTAP and the Dance Guild of Nigeria to do an opening glee and to use Ogunde's ‘Yoruba Ronu' and ‘Petepete' by 9ice to give it a contemporary touch. We tried to bring it back during the Ileya (Eid) festival with LTV and corporate sponsors because, coming out of the play, I am seeing things like people saying: I have never watched a Yoruba stage play in my life. People saying: we have never watched anything like this in 25 years. This doesn't even speak well of the country.

It's a pity, a shame really and I think somehow, we have to find a means of continuing and in my lifetime produce ‘The Palmwine Drinkard' before all the original cast die. I know where the material is. One or two people are still alive and its been studied... I befriended Pa Amos Tutuola before he died, I visited him at Odo Ona, Ibadan, several times.

What next after Ma'ami?

I have a string of projects lined up. First, I will like to do an adaptation of Yinka Egbokhare's ‘The Dazzling Mirage', about sickle cell. Then I will have to quickly do another Yoruba film to pacify the Yoruba audience so I will do an adaptation of Femi Osofisan's ‘Wuraola' and then I will love to do ‘Cordelia', which is another Osofisan stuff. This is set against a popular military coup and I have always wanted to do something about one of our military coups. Then I will do ‘Dog's on Lions Trail' which I have shelved for about seven years. It's an adaptation of Kola Akinlade's ‘Aja To N Lepa Ekun'. It's interesting because all those five or six films I have mentioned are adaptations from literary resource.

We don't have as much production anymore in Yoruba literature; will there come a time when you run out of resource?

It's not possible because if I take to Ifa corpus, for instance, those are more than a thousand stories. Our ancestors have already done all the work and passed all these things to us. It's another thing if we close our eyes and turn our back on it and never look. It's not possible in two lifetimes to exhaust literary resource. We haven't even touched any of Fagunwa's works. Two pages of D.O. Fagunwa is about two films. It's all there.

Source:http://234next.com/csp/cms/sites/Next/ArtsandCulture/Film/5652424-147/kelani_goes_back_to_his_roots.csp
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Silva and Mabiaku star in ‘A Husband’s Wife’

Silva and Mabiaku star in ‘A Husband’s Wife’

Six years after her first appearnce in Tyrone Terrence’s ‘A Husband’s Wife’, actress, Joke Silva, is set again to reprise her role in the marital thriller. Silva played Tomi, the female lead opposite Richard Mofe- Damijo when the play was first staged in 2004.She will however be starring opposite actor and musician, Dede Mabiaku when the play is staged on Saturday, December 18 at Agip Recital Hall, MUSON Centre, Onikan Lagos.

‘A Husband’s Wife’ is about a marriage gone sour. It is a tragedy about the mistakes of a husband and his wife, which rocks their hitherto blissful union. Some witty and incisive language employed in the play which has toured countries including Ghana, US and the UK, further reinforces its poignancy.

Rosewood Theatre, Clipse Management and Theatre, which produced Terrence’s ‘Yoruba Romance’, last year are facilitating ‘A Husband’s Wife’.

The production is supported by Promisador Limited. Tickets for the show which comes at N5,000 for regular and N10, 000 for dignitaries are already on sale at designated spots across Lagos.
Source:http://234next.com/csp/cms/sites/Next/ArtsandCulture/TheatreDance/5653927-147/story.csp

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I believe in the Nigerian dream — Folake Oyemade, CEO/MD, Sam & Sara

Folake Oyemade
With a vision to grow one of the few and well known indigenous uniform manufacturing outfits, Sam & Sara, to an enviable height, Folake Oyemade speaks to NKARENYI UKONU about her business and life generally

Beautiful and stylish, with a coordinated dress sense, one would have expected that having given vent to her passion — beauty and fashion — she would not only pitch her tent there, but remain one of the forces to be reckoned with in the industry. Instead, she delved into the mass production of uniforms, a largely untapped and unexplored area for organisations and individuals with a large work force.

Folake Oyemade recalls how it all started.

”I initially started out importing cosmetics, but because of my love for fashion, my mother wanted me to go to Paris to study fashion designing and become a professional in that field but I declined because I didn‘t think I wanted to sew, even in that capacity. I simply wanted to create designs in my head. In fact, my mother gave me the capital to start my first business. Unfortunately, the business didn‘t go too well, as I refused to do some of the unethical things players in the industry were doing.

”When the ban on clothes was lifted, I quickly switched over to what I know I really had a flair for and could control — that is, selling clothes. Bijoux Unisex collection opened in 1986 and we were the foremost household name in fashion retailing in those days. We had six stores nationwide. The business did very well and I enjoyed every bit of it because it was what I had always wanted to do and it gave me the opportunity to express myself, fashion-wise.

”I closed all Bijoux stores and relocated during the Abacha era to America because the country wasn‘t looking too promising or safe; everything looked bleak. I later came back in 1999 and floated Bijoux again, but because it had already become a business for everyone, it no longer held any attraction to me. The idea of manufacturing high-quality uniforms started to take shape. That was how Sam & Sara was born.”

Named after her twins, the vision and motivation to set up the eight-year old business was inspired by God and the fact that making uniforms is an untapped area of garmenting. ”Before Sam & Sara, organisations and private individuals would always import uniforms because that area was largely left to local tailors who do not have the capacity to do large-scale production of high-quality uniforms. But today, I believe that the Nigerian economy is big and organised enough to accommodate big organisations that will be willing to ask to be supplied well tailored and high quality uniforms that would compete with international standards.

Besides having a natural flair for designing, the Ondo indigene has been able to learn a few things about her line of business from her expatriate staff and her partners overseas. She also enumerated some of the dire challenges she faces while trying to produce her standards. ”One of them is fabrics. We don‘t make fabrics and with the ban on importation of fabrics, we are saddled with taking what the local manufacturers have to offer. While some are doing well, most others aren‘t in terms of quality and delivery; and this is having a crippling effect on the business.

”Another issue is that of power. I believe in the Nigerian dream and it doesn‘t matter how much some people are shipping money out of this country, some of us want this country to stand, that is why I am doing all these; otherwise, I could jolly well just maintain my office, import from either China or America and run a small factory to service the Nigerian market. A lot of people aren‘t employed, but I would be more than glad to do my own bit to get as many people off the labour market as possible, if only the situation would improve and get more encouragement from the Federal Government.

Feeling every inch fulfilled, she adds that the satisfaction she gets is mostly from seeing a good job done at her factory, which isn‘t quantifiable in terms of monetary return.

With a degree in Philosophy from the University of Lagos, she initially planned to get a second degree in law just because her parents felt she would make a good lawyer, what with the way she was adept at arguing herself out of any situation, making her point and having people to accept it. She suddenly had a change of mind, venturing into business instead.

Born to Pauline and Simeon Tubo who were involved in importation of gold and poultry farming respectively, in addition to their paid employment, Oyemade recalls with nostalgia her growing up days. ”I come from a pretty large family of nine children and growing up was good. The mere thought that Christmas was coming was always very exciting. In fact, from October, the excitement would have started building up and when my dad announced that we would be doing our shopping a few weeks before Christmas, we would get so excited and would hardly concentrate on our studies.

”We grew up doing everything in the house together, playing with one another. That is why, even up till now, I am not given to going out a lot. My parents were comfortable enough to give us all good education, more than the basic things of life. When it became the vogue to travel out on holiday, my parents were able to do it for me, at least once a year.

Not looking anywhere near her age, the 49-year old willingly shared some of her secrets. ”I don‘t stress myself. If I‘m upset, you‘re likely to hear me shout and scream, but that is where it ends. I try to close for the day by 4.00pm, head home, stretch my leg on the stool, relax and watch television, African Magic especially, because it makes me laugh. I try not to watch what would make me task my brain. I exercise a lot. I used to be quite big, a size 16, but I shed all the weight about four years ago. I had to because I didn‘t like being big. I was always a slim and tall person, but after I had my kids, I saw myself adding weight and couldn‘t get my size in the type of clothing I would love to wear; so, I had to shed off the weight.”

Married to the honourable Commissioner for Commerce and Industry, Lagos State, Mr. Adeniyi Oyemade, whom she has been with for 18 years, she describes him as ”a wonderful man who is nice to a fault and very unassuming. There aren‘t too many men in Nigeria like him; he is encouraging and very supportive in terms of advice.” She also likes to unwind with her husband, just as she enjoys taking exotic holiday trips. ”I love to spoil myself. I don‘t do the regular travelling that a lot of Nigerians do. I have reached a stage in my life where I don‘t travel to shop but to unwind. So, I really save up to give myself a treat.”
Source:punchng.com

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Do I avenge myself or continue in love?

Do I avenge myself or continue in love?
Prisca Wright was just eight years old when the event that would change her view of life happened, leaving an indelible mark in her heart. One night, while playing with one of the dolls that came along with the doll house her parents got her for her eighth birthday, she heard the loud noise of their door being banged at furiously and some very deep guttural voices demanding that the door be opened if the occupants didn‘t want to regret their decision not to open the door
. Peeping through the window of the doll house, she saw her parents and only brother, John, huddled together in fear but with her dad trying really hard to gain control of the situation; unfortunately, so afraid were they that they forgot she wasn‘t with them.

The people at the other end kept hitting at the heavy wooden door, telling them to say their last prayers as they were prepared to send every soul in the house to the great beyond if the occupants still refused to open the door. John and his mum turned to his dad, urging him to open the door and spare them the agony of what may befall them should the hoodlums succeed in gaining entrance into the house.

Knowing the hoodlums could be dastardly, Mr. Wright proceeded to shield his family and began looking to see if there was another possible way they could escape from the house. Just as he was thinking about what to do, the hoodlums opened fire on the door and shattered it into pieces, gaining entrance easily into the house. The five-man gang ran after the three of them, got hold of them and dragged them to the sitting room. They didn‘t bother to ask or check if there were other people in the house but immediately settled down to the business of the day. They asked Mr. Wright to lead them to where their valuables were, and after they were satisfied there was nothing else to dispossess them of, they took turns to rape Mrs. Wright while her husband and son were forced to watch. She was eventually shot dead by the leader of the gang. Mr. Wright and his son were not spared either, as they were also shot at point blank range in their heads by the leader of the gang. They left afterwards.

Meanwhile, little Prisca remained silent in little doll house as she took in the sights and sounds. She was afraid to step out of the doll house for fear that the hooligans might still be lurking around, waiting to pounce on her.

Hours passed and she remained in there as alert as she could. She couldn‘t cry, even as the scenes of the incident flashed through her mind. The sounds of the guns reverberated in her ears, while the laughter of the hooligans as they gang raped her mum refused to die down. That incident marked a turning point in her life: she was never a child again; the word ‘revenge‘ was etched in her heart with anger.

Help came to her the second day and, as she was being led out of the place she had known as home all her life, she wept profusely. She also saw her family being taken to the morgue. Many years after and now in her late 30s, Prisca became a hardened but successful businesswoman as a result of the gory incidence and the images of the violence. Every day, the faces of the hooligans got clearer, the sounds of the gun got louder and she resented men the more. She allowed no man near her.

She worked hard to forget what happened, to erase the misery she suffered and was still suffering until she met and fell in love with Desmond, a handsome hunk who was also in her own line of business. Desmond changed everything about her: he loved her dearly and she also loved him so much she was afraid to lose him. He made her feel she wasn‘t alone in this ruthless world and, before long, he asked her to marry him. She said yes without hesitation and soon after, they planned a visit to his parents for a formal introduction.

As she walked into her future parents-in-laws‘ home, she was shocked at what she saw. The nightmare of the past came back in full force, the memories of the incident reverberated through her mind. She had always nursed revenge in her heart for those who sent her family to a gruesome and untimely grave and now, she was face-to-face with the gang leader. Even though he was almost unrecognizable, what with his graying temple and wide midriff, he was, no doubt, unmistakably the same person. The demon turned out to be the father of her future husband, Desmond, the man who taught her how to love again.

Now she is in a fix. She doesn‘t know whether to avenge her family‘s death or to continue to love Desmond and marry into his family.
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Marriage is impossible with him

I am 33 years old, still single but searching desperately because my younger sisters are all married. The problem I have now is this guy I am dating.

He is asking for my hand in marriage but I don‘t love him! He always asks for sex on the phone; he is an alcoholic.

He depends on me for clothes and recharge cards and he talks as if he lacks sense. He had asked that my father picked a date for our formal introduction, but I stopped it because I don’t know this guy enough to marry him. His brother, who was my school-mate, was the one who introduced him to me. Though my parents are helping me concerning this issue, I am fast losing my sense over it. What do I do?

HU,

Ibadan



That you are desperately searching should never make you pick a partner from the dump-site! Fortunately for you, this guy has exhibited all that could make you refuse his marriage proposal. You are so lucky that he did not pretend; neither did he hide his real self from you. You need not to be told to leave him, or do you? I don’t even see the reason why you should become so desperate for marriage just because your sisters are married.

If you bow to societal pressure on marriage, you will make a wrong choice, which is one of the greatest mistakes any individual could make in life. Take your time to search well, pray to get a sincere and committed man and never marry anyone you don’t love!
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Re: I am married with children but my ex-lover wants me back

You are in a bad shape. Nobody forgets how painful it feels to lose a child; in this instance, two children. Whether it happened as a result of your curse or not, it was what you wished her and it came to pass. Your best bet is to hold on to your present family. Kabirat wants to get at you. She would do more than speak a negative word into your life; she will finish you if you let her in. Run away from her. Run! Run!! Run!!!

Deolu, Lagos



It is better to let Kabirat go or she will destroy you.

Mabogunje S B



If I may ask, was she not alive to see you molested and assaulted by members of her family? In the end she decided to leave you out in the cold. Was she not aware of your love and the promise you made to her? So why did she let another man impregnate her?

Friend, you have to shrug off this sentiment. Remove the veil from your face and move on with your life. If you had died in the course of the threat to your life would she be seeking your remains now?

As for the prediction you made which came to pass; you have apologised so the condition she is giving for forgiveness is uncalled for. My advice is that you should stop seeing and thinking about her. Focus on building your home and loving your wife more. That’s all.

Gideon Obika, Odogunyan

I am a student of Guidance and Counselling. I read about the case between you and Kabirat. It is obvious that she did not love you. What you had then was the normal things that are common to students. That was why she ran after another lover. Love is based on maturity. Why are you dying for somebody who does not truly care for you? The fact that your prediction came to pass and it did not favour her must be the reason she is asking to come back to you. She wants to retaliate. She will harm you if you allow her to come back. Don’t destroy the lovely family that God gave to you by thinking of bringing her back. Build the love you have for her on the mother of your children. Kabirat is not your wife; don’t allow her to destroy your marriage.
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