Entertainment
Remembering Oliver De Coque:The Highlife Meastro
It is three years now since Oliver De Coque, the artiste who introduced flamboyance and showmanship to highlife, died. By his exit, the scene did not only miss his colourful stage presence, it also lost perhaps the last gasp of the guitar highlife movement, which he crusaded with great commitment and formidable force.
He was a product of the agitated guitar highlife tradition set by Prince Nico Mbarga of the Rocafil Jazz on the one hand, and the typical Igbo guitar highlife of the Oriental Brothers and the Ikenga Super Stars on the other. He started by playing strict Congolese-oriented highlife, but found his direction in 1979 with perhaps his greatest hit, Peoples Club of Nigeria, which sold considerab1y. But it was with Funny Identity in 1981 that he gained national recognition.
Evidence of the song’s popularity and acceptance were established at the time by concrete sales figures, which came out of a scientific research by Research and Marketing Services, a top research company headed at the time by Mr. Tejumola. Collated results relied on questionnaires, which his staff took to the field. The area of coverage at the time was Lagos, where his men stood at designated shops – small, medium and large – to ask pertinent questions from prospective buyers of records. The early ’80s was a big boom for the Nigerian music industry.
The questionnaires attempted to capture an expansive field of enquiry, which included age, religion, sex among other details. The collated results were broadcast by the then Radio Nigeria 2 on the Top 10, a hit parade created by veteran broadcaster, Ikenna Nduaguba who was then the station’s Director of Programmes.
Funny Identity entered the chart at number one to compete with entries from Ebenezer Obey and Sunny Ade – the two powerful icons, who often dominated the chart. It moved to number two the next month and number four the third month to give way to new entries.
However, it reflected in the charts all through the existence of this hit parade even though it slid below the number 10 slot.
With reissue, Funny Identity is still selling till today as an evergreen. A pointer to this fact was engendered by a phenomenon where the song along with such evergreens as Ebenezer Obey’s Board Members reflected in the unofficial Top 20 that was kept for marketing purposes on the advice of Mr. Akinyemi, who was then the Managing Director of EMI Records. The late Ahanite was a great composer and a prolific songwriter.
He had many other hit albums, even though dominated by praise singing, among them Ugbana, Papa and Mama, Udoka Social Club, Destiny, Ana Enwe Obodo en we, Nunukwu Mmanwu, Bili Kanu
The guitar highlife movement took over from the big band, conventional type with homsaround 1972 with the arrival on the scene of the Oriental Brothers. The different factions of the Oriental Brothers led by Warrior, Kabaka and Dan Satch Okpara tried to establish this trend as a popular vehicle. But it was the likes of Oliver De Coque who introduced the element of group-vocal harmony singing to put a final polish on its evolution as a big band vehicle.
A highly committed artiste, he was always willing to perform in live settings; and garnered a lot of well deserved honours, including the long contribution award bestowed on him by the organizers of the Nigerian Music Awards held in Owerri, Imo State capital, the year he died.
An artiste with a clear vision, he was well groomed for the profession and knew exactly how to take his career to the top. Said he: “I can call myself a naturally talented musician; nothing inspires a talented musician. It is just like a born scientist who does not fall short of ideas in his brain. What he thinks about always is how to invent something and a born musician too thinks of how to create music. He does not think of money because when he creates, the money will surely come.
Benson Idonijo
Entertainment
Davido Narrates How His Song Became President’s Ringtone
Nigerian megastar, Davido shares how his father recognised that his music was getting big.
Davido says his hit single ‘Dami Duro’ was the president’s ringtone
During an interview with newsmen, Davido spoke on the early days of his career and how he eventually got his father’s approval to make music.
The Grammy nominee shared the familiar story of how he left school in Atlanta and returned to Nigeria to pursue music without his father’s blessing which later led to his business mogul dad getting him arrested.
“I don’t think he did not want me to do music, he just wanted me to be successful as whatever I did because he got a blueprint for me already,” Davido said on his father’s early reaction to his decision to make music.
“He is so supportive and he checks on everything…My dad picks my album. When I am done, I send him all the tracks and my dad goes through all the records and gives me a paragraph each,” Davido narrates the personal interest and support his Dad gives him.
“My dad gave me the name Davido…The first show I did, he arrested me, the fans, the promoters,” Davido said laughing as he narrated the story of how his father got him arrested after he returned to Nigeria without his consent and had his first show as a 17-year-old. “He just wanted me to finish school,” Davido added about his father’s insistence that he get a university degree.
The three time Grammy nominee was asked when his father recognised that his music was getting big and he revealed it was when his hit song ‘Dami Duro’ was the president’s ringtone.
“When my song was the president’s ringtone,” Davido said.
While he did not mention the president or the country, Davido is likely referring to the exploit of former Nigerian president Goodluck Jonathan who was the head of state between 2010 – 2015.
During the interview, Davido also mentioned his plans as a businessman beyond music. He revealed he had a production house called Coco House which he describes as a media house for creatives. He also added that he intends to get into crypto.
Entertainment
Funke Akindele’s New Film Premiers, Dec
Nollywood actress and filmmaker, Funke Akindele has announced that her upcoming film, Everybody Loves Jenifa, a spinoff from the Jenifa franchise will premiere in December.
“Been long you saw Jenifa!!!!” Akindele said.
While a December premiere is confirmed, details on the film remain unknown. However, the new title, Everybody Loves Jenifa, suggests a potential return to the core elements that have made the franchise popular. With Akindele leading the creative team, viewers can anticipate the return of familiar characters and humorous storylines.
The sitcom, Jenifa’s Diary has been a major Nigerian television show since its debut in 2015. The series centres around the main character played by Akindele, and has featured Folarin “Falz” Falana, Lolo, Juliana Olayode, Lota Chukwu, Paschaline Alex Okoli, and late Aderounmu Adejumoke.
The Tide Entertainment reports that it has also had spin-offs and sequels like Aiyetoro Town (2019), which is set in Jenifa’s village, and Jenifa on Lockdown (2021).
Akindele played Jenifa in the first film in the franchise, Jenifa (2008), a village girl who travelled to the city in pursuit of fortune. Muhydeen S. Ayinde directed the movie.
The movie was nominated for four Africa Movie Academy Awards in 2009 including, Best Original Soundtrack, Best Actress in a Supporting Role, and Best Nigerian Film. For her performance in this movie, Akindele took home the Africa Movie Academy Award for Best Actress in a Leading Role.
Entertainment
Halliday Attributes Collaboration Hindrance To Sentiments, Others
The convener, South South Media Week, Tammmy Halliday has attributed the lack of unity and collaboration in the PortHarcourt entertainment industry to sentiments, baggages and trust issues.
He made this known yesterday, during an interview with newsmen in Port Harcourt.
According to him, some things that spur baggages are family background, personal experience with colleagues or other people, saying that when someone has been reaped or used by any of his colleagues or someone else, he might not want to work with some other persons because of trust issue.
This goes along with baggages, where he now sees his other colleagues as one and same with the one who used him and so this continues to hinder collaborations in the industry.
He advised that as an entertainer you should get better, visible and exposed as the industry required.
He said that the key factor that can help collaboration is growth, explaining that growth would make entertainers live beyond baggages, adding that if you are good at what you do, and know what you want and where you are going with it , then you are good to go.
“You can seek an advice from a legal practitioner, professional or a senior colleagues to ensure that you (entertainer) get it right.
It is not a bad idea to serve or work with someone, because you serve to rise in the industry. You have to be well rooted, but, you should be able to know want you want and where you are going with what you do, this will help you move on, when it is no longer working for you, otherwise, you will remain there and keep complaining and then it gets to that point where you begin to see that person as a reaper,” he said.
Mr Halliday who also do corporate social responsibility award via his platform, South South Media Week stated that critical communication is important in any situation, with a critical approach, no doubt you will always be on the right track.
Speaking on criteria for awarding awards, he maintained that it is on numbers, affiliations, fanbase, followership, association and sales of the person or organisation in question, saying that these also works for collaboration with an artiste, because they are factors that facilitate growth in the industry.
Categories of award that are awarded through the platform includes, entrepreneur award of the year, innovation award of the year and others.
Nancy Briggs
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