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Some social media users have subjected Ghanaian artistes to ridicule and backlash after Nigeria's Burna Boy and Wizkid grabbed an award at the just-ended 63rd Grammy Awards ceremony. The musicians have faced all sorts of comparisons, criticisms, and condemnation on social media following the development. Burna Boy won the Best Global Music Album category after being a nominee for a second consecutive year. The album 'Twice as Tall' was nominated alongside albums such as FU Chronicles by Antibalas, Agora by Bebel Gilberto and others. Beyonce's 'Brown Skin Girl', which featured Wizkid, was also adjudged Best Music Video. Reacting to the news, social media users heavily descended on Ghanaian artistes for 'fooling around' instead of projecting Ghanaian music like Nigerians have consistently done, Ghanaweb reports. To them, Nigeria's Grammy Award win is an eye-opener for Ghanaian musicians to sit up and not waste time on unnecessary 'beefs'. Some are also of the view that, now that Nigeria can boast of a Grammy Award, Ghanaians henceforth should not regard them as their mate. It is worth noting that the biggest Ghana has achieved in terms of international recognition are BET Awards won by Sarkodie and Stonebwoy. In 2019, Sarkodie was the first artist to win the Best International Flow award at BET Hip Hop Awards, while Stonebwoy won the Best International Act: Africa category at the 2015 BET Awards. Rocky Dawuni's sixth studio album titled 'Branches of The Same Tree' was nominated for a Grammy Award in 2015. It grabbed a nomination in the Best Reggae Album category. BY SAHARAREPORTERS, NEW YORKA SOURCE;http://saharareporters.com/2021/03/16/nigeria-ghana-renew-rivalry-over-burna-boy-wizkids-grammy-award-win
Nigerian music stars, Damini Ebunoluwa Ogulu, better known as Burna Boy and Ayodeji Balogun, better known as Wizkid, on Sunday night, won their first ever Grammy Awards. Burna Boy bagged the much-coveted Grammy award in the ‘Best Global Album’ category for his ‘TWICE AS TALL’ album. He was nominated alongside Tuareg Desert rock group, Tinariwen; NYC afrobeat outfit, Antibalas; Brazilian-American, Bebel Gilberto; and British-Indian sitar player, Anoushka Shankar. This is the second consecutive time Burna Boy has been nominated for the Grammys. His previous album, ‘African Giant’ was nominated at the 62nd Grammy Awards for ‘Best World Music Album’, but the award went to Beninoise singer, Angélique Kidjo, who dedicated the award to Burna Boy and said he was leading the pack of young Africans who will shake up the global music space. Burnaboy is the first winner of the recently renamed category, formerly known as Best World Music Album. Wizkid, on the other hand, won a Grammy for the Best Music Video’ for his role in ‘Brown Skin Girl’, Beyonce’s 2019 hit song. The Best Music Video award is given to the artist, video director, and video producer. Their video bested fellow nominees Future with Drake, Anderson.Paak, Harry Styles, and Woodkid. Here are seven Nigerians who have won the awards in the past: Helen Folasade Adu (Sade Adu) Sade Adu, British-Nigerian singer, who turned 62 on 16 January, 2021 has won the award. She made history as the first Nigerian singer to win a Grammy. Born on January 16, 1959, in Ibadan, Nigeria, Sade was raised in London. She had been nominated for the Grammy awards nine times and won four times. She won her first Grammy in 1986 in the Best New Artist category. She also won the Best R&B Performance by a duo or group with vocals in 1994 for the song, “No Ordinary Love.” Sade also won another Grammy in 2002 in the category of the Best Pop Vocal Album, with the song “Lovers Rock,” while in 2011, she won the Best R&B Performance by a group with vocals for “Soldier of Love.” Sikiru Adepoju 69 year-old Sikiru Adepoju is a percussionist and recording artist from Nigeria, primarily in the genres of traditional African music and world music. He plays a variety of instruments and styles. Born in Eruwa, Oyo State, Adepoju was a member of Ebenezer Obey’s Inter Reformers Band until he left for the US in 1985. In the US, the ‘drummer boy’ joined O. J. Ekemode’s Nigerian All-Stars, and three months later met Babatunde Olatunji. He became an integral part of Olatunji’s Drums of Passion, and through Olatunji met Grateful Dead drummer Mickey Hart. He was part of Mickey Hart’s group Planet Drum, whose title album won the Grammy Award for Best Contemporary World Music Album in 1991, the first year there was a Grammy in that category. He was also part of Mickey Hart’s latest group Global Drum Project, whose title album won the Grammy Award for Best Contemporary World Music Album at the 51st annual Grammy Awards in Los Angeles 8 February 2009. Olusegun Olumide Adeola Samuel (Seal) Born Henry Olusegun Adeola Samuel in 1963, he is better known by his professional name– Seal. He is a British-Nigerian musician, singer and songwriter best known for his 1994 hit song, “Kiss from a Rose.” He has 14 Grammy nominations to his name and has won four. His song, “Kiss From A Rose” earned him three Grammy awards in 1996 and in 2011 he nabbed his fourth “Imagine”. He holds one of the highest numbers of Grammy awards by a Nigerian. Lekan Babalola Born in 1960, Lekan Babalola is a Nigerian jazz percussionist and musician who started playing the conga at an early age. He has seven albums to his name and two Grammy awards. He began his professional career after joining a band called Samba Samba Band and later New York City-based Art Blakey’s Jazz Messengers band, where he perfected playing the Bongo drums and performing jazz music. In 2006, he became Nigeria’s first Grammy Award winner for his work on Ali Farka Touré‘s In the Heart of the Moon which he was credited in three tracks. He also won a second Grammy in 2009 for his work on Cassandra Wilson‘s 2008 album titled Loverly. Hakeem Seriki Nigerian-American Hakeem Seriki, better known by his stage name Chamillionaire is a rapper, entrepreneur, and investor from Houston, Texas. He was born November 28, 1979 in Washington D.C to a Muslim Nigerian father and an African-American Christian mother. He moved to Houston, Texas at the age of four He began his career independently with local releases in 2002, including the collaborative album Get Ya Mind Correct with fellow Houston rapper and childhood friend Paul Wall. He signed to Universal Records in 2005 and released The Sound of Revenge under Universal. It included hit singles “Turn It Up” featuring Lil’ Flip and the number-one, Grammy-winning hit “Ridin'” featuring Krayzie Bone of Bone Thugs-n-Harmony. The song won the Grammy in 2007 for Best Rap Performance by a Duo or Group. It was also nominated for Best Rap song. Chamillionaire is also known for his most anticipated Mixtape Messiah series, which ran from 2004 until 2009. Kevin Olusola Kevin Olusola, born October 5, 1988 is a Nigerian-American musician, beatboxer, cellist, rapper, record producer, singer, and songwriter. He is also a polyglot. He was born in Owensboro, Kentucky, to Nigerian-born Oluwole Olusola, a psychiatrist, and Grenadian-born Curline Paul, a nurse. Olusola’s parents discovered his musical talent when he was six months old and decided to put him in music lessons. He started the piano at age 4, the cello at age 6, and alto sax. Olusola is best known as the beatboxer of the vocal band, Pentatonix. After the group won NBC’s The Sing-Off in 2011, they released five albums, which all charted in the top 5 of the Billboard 200 charts, have sold over 2 million records, and have amassed more than two billion views on their YouTube channel. His group won the Grammys in 2015 and 2016 for Best Arrangement, Instrumental or A Cappella. The group also won in 2017 for Best Country Duo/Group Performance for the song – Jolene, which featured Dolly Parton. Cynthia Erivo A British-Nigerian actress, singer and song writer, who played the lead role in the biopic Harriet and was nominated for several awards. Her full name is: Cynthia Onyedinmanasu Chinasaokwu Erivo. She was born in Stockwell England on 8 January, 1987. Cynthia is multi-talented. Apart from picking awards in theatre and cinema, she also won a Grammy Award for Best Musical Theater Album in 2017 for Colour Purple. BY SAHARAREPORTERS, NEW YORK SOURCE;http://saharareporters.com/2021/03/15/burna-boy-wizkid-seven-others-nigerian-descent-who-have-won-grammy-awards
Nigerian singer, Burna Boy, has won his first-ever prestigious Grammy award at the 63rd Grammy Award ceremony. The African Giant was nominated in the category for the Best Global Music Album category for his album Twice As Tall. The singer, who is a nominee for a second consecutive year, beat four others including the Malian band, Tinariwen to clinch the award. During his last outing at the Grammys, Burna Boy was nominated in the same category- then known as Best World Music Album – but lost to Angelique Kidjo at the awards ceremony in 2020. However, Kidjo dedicated her win to him, saying, “Burna Boy is among those young artists that come from Africa that is changing the way our continent is perceived and the way that African music is the bedrock of all music.” His album, Twice As Tall, becomes the first Nigerian album to win a Grammy. By Punch Source;https://punchng.com/burna-boy-wins-first-ever-grammy-award/
Popular Afrojuju musician, Shina Peters, has reacted to claims that he refused to raise Damilare, a son he had with a Nollywood actress, Funmi Martins, who died as a nursing mother in 2002. An Instagram blogger had recently alleged that Peters abandoned the 19-year-old who has since lived with his late mum’s younger brother. Damilare reportedly confessed that his sister, Mide Martins, had abandoned him with his uncle who lives in Sango Ota, Ogun State and that life had been difficult as he had to drop out of school due to lack of funds. According to an online blog, Mide Funmi-Martins, had neglected her role as a sister and even blocked her brother on WhatsApp to restrict any form of communication with him. Also, it was alleged that Shina Peters had refused to check on Damilare who is now 19 years old and Peters was said to be too quick in discharging the teenager who only saw his father recently at his Iju residence. But in a viral video where he addressed the allegations, Peters said he never said he would not take care of his alleged love child with Martins. “I am no longer a kid. How can someone like me abandon a child? What would it cost me? I have lost count of how many kids I have raised in my life. I love children a lot, why will I refuse to take care of Damilare?” the 62-year-old asked. “There’s a reason for everything but I have chosen to let go of the past and I will never bring it up again. I never said I wouldn’t take care of Damilare and it may interest you to know that I have been in talks with him on the phone. “And I have arranged to meet with Damilare and his uncle. I assure every well-meaning people that have interfered in this matter that I will not disappoint you. I am a father and I have successfully raised a lot of kids. “Damilare’s case will not be an issue. I want to appeal to everybody concerned to not turn this boy into a beggar that money is being contributed for because of his future.” BY SAHARA REPORTERS SOURCE:http://saharareporters.com/2021/02/19/paternity-scandal-shina-peters-reacts-claims-he-abandoned-son-he-had-late-actress-funmi
Chief Ifayemi Elebuibon is a renowned cultural promoter and diviner. In this interview with BOLA BAMIGBOLA, he speaks about his childhood, work and sundry issues Where and when were you born? I was born at Oluode Aturuku Compound, Osogbo. I am a descendant of Olutimehin. Olutimehin was a co-founder of Osogbo land. My father, Pa Akinrinde Akanbi Elebuibon, was a hunter and a herbalist-diviner by profession. He had six wives of whom my mother was the youngest. My mother had three children – two boys and a girl. My immediate elder sister was an ‘abiku.’ Was there any foretelling to your parents about you and what you would eventually become before your birth? Yes, there was. When I was about to be conceived, my mother had several miscarriages and could not conceive on time, which led to the preparation of some concoctions for her. But none of them worked for her. One day, my father decided to consult Ifa oracle, which revealed that a male child was going to be born and that he would be an Ifa priest and a cultural revivalist whose name would be known throughout the world. Ifa also said that my mother should stop using herbs. She was told to offer a sacrifice to River Osun and then fetch some water to drink. When she did all that, my mother got pregnant. While in the womb, another divination came and my name was revealed to my parents, but this was not made known until the third day after my birth during the ‘Akosejaye’ ceremony. The then newborn baby was named Ifayemi Osundaagbonu Elebuibon. What was your growing up experience like? I could remember vividly that while growing up, I used to have fever. But my mother did not give me herbs; instead of that she would go to Osun River every five days to fetch water for me to drink and used it to rub my body. She would also put some drop of water right in the middle of my head. That worked like magic. Was your birthday recorded? No record, per se, but my mother told me I was born during the reign of a king called Timi ‘Lagunju in Ede. There was no written document to prove exactly the year I was born. Although I later made some enquiry so as to know the year Timi Lagunju assumed the throne but it did not work out. However, with the help of horoscope I was able to get my date of birth, which is July 25, 1947. When did you start training in art and the practice of Ifa? I started the training at age four under the tutelage of my father. One day I was able to put to practice what my father taught me when one of my friends sustained an injury and was bleeding while playing a game and people were marvelled that I could stop a bleeding with mere incantation. I also resuscitated someone that fainted with incantation. My father taught me quite a lot as a little boy. He later assigned another Ifa priest to be my master. I continued my training under my then master, Chief Faniyi Ajani, who was the Agbongbon Awo of Osogbo in his lifetime. My father passed on in February, 1957. After his death, I left my father’s house and moved into my master’s house. Did you go to school at all? In 1955, Chief Obafemi Awolowo introduced the Universal Free Education. That time, teachers would be moving from house to house looking for children to register in school. One day, my father was with the head of our family, known as Oluode, discussing an issue with him. I was standing not too far off, when two people arrived on the scene. My father excused himself from the meeting to attend to them. They requested for my name from my father so as to register me for school but my father declined. He claimed that his other children that went to school never returned home. He told them I was destined to be an Ifa priest. They pleaded with my father to let me attend school in the morning and then have my Ifa training by evening, but the old man objected to the idea. All my younger brothers and sisters went to school but my father did not allow me. But how come you are able to read and write? When I moved in with my master, we lived at Oke-Popo Catholic Mission Home, Osogbo, which was the area where Mbari Mbayo Art was situated. In my master’s house, I met three boys of my age who were in school. Every evening, when they were doing their homework, I used to watch them very closely because I loved to read and write. Watching them landed me in trouble several times because my master did not want me to have anything to do with books. Anytime he saw me writing, reading or watching them, he would beat me. But I was not deterred. Whenever my master was not around, I kept watching those attending school. Also, a friend who is now based in Ghana was of help to me too because whenever he returned from school, he would teach me what they were taught. Later, a friend, Sule Raji, advised that I should do a correspondence course. He spent the money his father had sent to him to buy books on my correspondence course. All through, I kept it away from my master and I was able to complete the course. Did your master ever find out you could read and write? He later got to know I could read and write. There was a man called Gabriel Odunade that used to write letters for my master. He was a tailor. He later relocated to a village near Ile-Ife and my master had several letters written to him from Ghana by one of his friends. At a point, my master became confused and was looking for another person that could read and write. Someone just mentioned my name to him. He then summoned me and asked if I could help him read letters. I said yes and he brought out the letters. I read and I assisted him to write replies to the letters. When his friend who was based in Ghana came home and requested to know who had been helping my master to reply his letters, he was told it was me. He was pleased and commended me. He gave me some good money that day. He said I was a better letter writer than the man that had previously assisted my master to write. What was the reaction of your master when he knew you could read and write? He didn’t say anything. I practically became the letter writer for the compound. I used to help people to record birth dates and write letters. How long does it take one to learn Ifa? My Ifa training spanned 10 years and six months. It may be more than that depending on how fast you can learn. The learning is continuous. But you can learn the basics in 10 years. What did you do after your training? February 1962 was the year when the Mbari Mbayo Cultural Centre was established by Prof. Ulli Bier, Ginas Nwoku, Wole Soyinka, Duro Ladipo and others. Ulli was a professor at the University of Ibadan in the Department of Extramural, but he did not like the atmosphere of urban centre; he preferred living in a rural area so as to know more about the indigenous setting. He left Ibadan and lived at Ilobu for a while before moving to Ede. From Ede, he came to Osogbo where he settled down. He used to attend all traditional festivals, where he would take pictures, ask questions for further research. We had all-night sessions chanting Ifa at the king’s family house. One day, the trio of Ulli Beier, Prof. Armstrong of the Institute of African Studies and Duro Ladipo attended the event. A friend of mine, who was my age-mate, and I both performed so excellently well, chanting Ifa poetry along with our seniors. Ulli Beier was so impressed and loved our performance. Was that where you got your first international connection? Yes, that was the turning point in my life. Ulli told Duro Ladipo that I must work with them. Duro told me that the white man said that I must work with them. Before then, each time I told people I was going to see Ulli Beier people believed I was going there to learn the art of magic. That year, Duro performed Obakoso and was emitting fire from his mouth on the stage. That made people to believe that going to work with Duro and others, I would become a magician and abandon my Ifa study. Whereas, what I was doing with Ulli and Duro was just assisting them to get poems relevant to their plays. They wanted to know the traditional songs that would go along with each scene in their plays. What was it like working with Ulli Beier and Wole Soyinka? I was working with Ulli to gather information. I was providing all the information he needed in both his journals and articles. At times, he would give me money to travel down to Otan to see Baba Sango and ask him about the deity. My international exposure started from that point. In 1967, I completed my Ifa study and gained freedom from my master. It pleased him to release me. When I had my freedom, Ulli was no longer around, as he used to, because he stayed in Osogbo for close to 15 years without travelling back home. I had an opportunity to continue with Duro Ladipo and we started travelling overseas for performances. What was your first foreign trip like and where did you travel to? We went to Festival Mundia in France in the year 1973. In 1975, we travelled to Sao Paolo in Brazil, also Bahia in same Brazil. We spent three months there. Later we moved to the United States of America, we spent another three months there also. With Ned Howard, who was our producer, we staged Obakoso in some parts of North America. We also went to Zurich and Yugoslavia. How many countries have you travelled to so far? They are many. I can’t begin to count them but I go to the US very often. I have been to many states in the country. What takes you to the US so often? I go there to lecture on African culture and philosophy. I also do consultation and perform sacrifices for those who want to. In one word, I do spiritual works. Do you go to universities to teach students also? Yes, I taught at San Francisco State University, United States of America. A Professor of Dance from Black Study Department and others were on a tour of Africa and they came to Nigeria. The visit coincided with our weekly drama presentation, titled, ‘Ifa Olokun, Asorodayo’ on the television in Oyo State. The professor went to the University of Ibadan and told them he wanted to see a diviner and he was directed to me. He met me in my father’s compound where I used to live in 1980, and invited me to teach in the San Francisco University for one year. Every now and then, I go to several other universities to teach. It appears people outside Nigeria appreciate Yoruba culture and traditions better than the Yoruba themselves. Why do you think this is so? It is because we have been brainwashed. Modernisation, civilisation and religious beliefs have made us forsake and abandon our culture and tradition. People no longer want to give their children Yoruba names; they prefer Arabic and Greek names. We have lost our identity. But beyond being brainwashed, there are obvious things that traditionalists do that people see and get scared. Do you think that has contributed to the loss of interest? I agreed that there are a lot of deliberate scary things that were introduced to our culture in order to scare people away. People are scared because they don’t have the full knowledge and understanding of their culture. Our Nollywood is not helping matters too. Do you think the fear of traditionalists by a lot of people is justified? People don’t need to be afraid. They should seek knowledge. We will be ready to assist them. Is any of your children following in your footsteps as an Ifa priest? I am happy with the situation now regarding my children. I am not sure of what will happen after my departure. All my children are on the right track. I have nothing to be scared of because they studied and practice Ifa too. Just like me, my children are travelling around the globe, propagating Ifa. Those that are married have not forsaken Ifa. I didn’t see the four corners of classrooms for the fear that I would abandon Ifa. But I don’t have fear my children will abandon the religion for other things in future. They have both Western Education and are all versed in Ifa. How does the traditionalists’ community deal with the bad eggs in their fold? It is better not to listen to them (bad eggs). Rather, do the right thing by following your beliefs. Study, learn and be familiar with your culture and tradition. All that people say about cutting of the head of a dead king, taking his heart and giving it to a new Oba to eat as part of the coronation rites, are all lies; such are not done. There is no religion that accepts human sacrifices. The act has been abolished. Those bad eggs have been engaging in barbaric acts to discredit traditional African religion. Mind you, there are evildoers in other religions too. You are a poet, a dramatist and a diviner. Which of these do you like and enjoy the most? I like and enjoy all of them equally. It is difficult to choose one because they are interwoven. How many books have you written? Between 10 to 11, so far. What has the patronage been like? There have been problems in terms of publications here in Nigeria. In the 1970s, the publishers used to beg us then to give them manuscripts. Onibonoje (publishers) as of then, he would come to me for manuscripts. Nowadays publishers are only interested in subjects that will bring in good money. They have no interest in cultural studies. How has been the patronage of your books internationally? It has been very impressive. At Saint Francisco, I used to have about 20 to 23 students in my class. All the topics taught and questions asked prompted me to write a book titled ‘Meaning of Sacrifice’. The books are better received outside the country than they are in Nigeria. How do you relax? Each time I plan to relax, the plan fails. But later, one of my foreign friends advised me to take pleasure with work. I preferred being outside the country to relax. Do you regularly get people coming to learn the act and study of Ifa both in Nigeria and abroad? Yes, we do. Presently I have two people who came from outside the country to learn. We have many people from Nigeria too. Where do you see Ifa in the next 30 years, when you consider the fact that many people do not show interest? It is very hard for this religion to die. It has sustenance and the only sustenance the traditional religion has is its healing power. That is its uniqueness. My only fear is that those trying to study Ifa now are not ready to pass through the numerous tests needed to have an in-depth knowledge of it. They are not ready to suffer like we did while acquiring this knowledge. Ifa will put to test the totality of a man. Your honesty and discipline will be put to test while studying Ifa. Is it possible to be a good Christian or Muslim and still learn Ifa? Yes, if you can follow the rules involved. In other disciplines, it is not compulsory you should have a good heart. But in Ifa, you must possess a good heart to learn and practice it. By Bola Bamigbola Source:https://punchng.com/i-go-to-us-often-to-perform-sacrifices-for-clients-ifa-priest-elebuibon/