₦airaland Forum

ikorodureporta:
before they developed this guidelines, they met with the government officials....& they'v also presented it to the govt for approval. .. that's why they are not happy about the govt's decision to still shut down worship centres

scobaba:
Well done Naptu2.

Pls i will need your help in getting two songs. 1999-2000 i guess. They dint last long.

1. Komo( dreadlocked guy, pal to 2 face),

Chorus of song...'na today yawa go gas i o egbe go shele..yawa go gasi o'.
'
2. X Appeal. They featured Plantashun boys.

Chorus...omo wa sheri shey sheri ko leshe.

Something like that

pope191:
the tittle of the X Appeal song is What u want, Jazzman Olofin & Lexzy doo ft Plantashun Boiz. I doubt if the video is online.

I can also remember the song by Komo blastic he was the guy that appear in Plantashun boiz Don;t u know video with cowries on his hair, too bad he had copy right issue with 2face at some point.

Now I can't help but think thro the days of beat point, OJB of blessed memory.... We have artist like Xclusive, Six O, C- Mon of Africa lady, Artquake - Abule Lawa, Kaha - Party Buddie, Azziat (Tiwa of those years), Kween, Ashionye, Ama (one of OJB's wife) and many more. Finally dis new crops are garbage or maybe its just a change in tune, cos I remember parents always complain, what kind of noise r u ppl listening to these days


Finally I need to leave dis country...

Drama as Ola Balogun storms out of premiere over ‘attack’ for condemning Nollywood

On May 13, 2016

8:40 pm


By Benjamin Njoku

Popular film maker and musician, Dr. Ola Balogun, who belongs to the first generation of Nigerian film makers in the likes of the late Chief Hubert Ogunde, Jab Adu, the late Ade Afolayan (Ade Love), Moses Olaiya (Baba Sala), Eddie Ugbomah among others, felt embarrassed and disappointed Monday night, when he stormed out of the premiere of his new documentary film, “River Niger, Black Mother” in anger.

The documentary film, premiered at Freedom Park in Lagos Island, attracted a sizeable number of young film makers and critics.

After the screening of the documentary which he said took him about 10 years to produce, the legendary film maker was put on the spot, as he answered some questions from the audience bordering on his career as a film maker and the state of the nation’s film industry.

“In my opinion, the present day film makers are not interested in making quality films.

According to him, “80 percent of would-be-film makers do not want to learn the art of film making.”

In the past forty years, he said, “none of them have ever come to tell us to mentor them. I can’t go about looking for who I would mentor. They don’t want to learn anything, rather they are interested in making money.”

“There are some professionals in Nollywood such as Tade Ogidan and late Amaka Igwe. The issue is this, the young musicians usually come to me and we play music together. That’s why they are setting a high standard now. But the film makers are not interested in making good films. They have not seen any good film before, and they are not interested in making quality films.

“Film making is a profession and the present generation of film makers do not want to approach it as a profession. The so-called actors in Nollywood are horrible. I can only refer to them as stars, not actors. There are only three actors in Nollywood. One of them is called Mercy Johnson, she’s a very good actress. The other one is Liz Benson. Actresses such as Ini Edo, among others, are not actresses, yet they make a lot of money.”

Shortly after Ola Balogun’s presentation, a young female film maker, Emmra, who said she studied Computer Science at Ogun State University before venturing into film making, took on the veteran film maker-turned-musician following his outright condemnation of works of the present generation of Nigerian film makers.

“I feel there is a big disconnect between the older generation and the younger generation of film makers in the country. I am going to relate my experience. Like you said, we are victims of the society not just the older generation alone. I studied Computer Science in Ogun State university and I never saw one computer throughout my undergraduate days. After my graduation, I started as an intern with Clarion Peters even though I knew I wanted to go into film making.

“During that period, I was able to save some money as I proceeded to New York Film Academy to study the art of film making for one and half years. So, when you tell me that I don’t know what I am doing, it hurts. When you tell me that I am not interested in learning the art of film making, it makes me not even want to meet with you to ask you some questions. It shuts that door for me. Yes, our work might not be as good as that of your generation. But there are lot of people who are out there struggling to make a good film. Whether you like it not, Nollywood has brought global attention to this country. And these are the people you say they do not know anything. If you talk like this, I don’t want to come near you,” the young girl fumed.

However, feeling embarrassed and visibly disappointed, Ola Balogun lost his cool as he stormed out of the venue, muttering “I am not going to come here and talk again. I have not seen anything you have done. I have a new documentary here. It is called River Niger, Black Mother. It took me about ten years to produce the documentary. You cannot learn to make film by going to film school, it’s a waste of time. You make film by watching films. I am going away from here,” the legendary film maker thundered, storming out of the place angrily.

Greizman:
Good job you are doing here.. You brought back memories.
Actually wasiu ayinde sang the first yoruba rap music in Talazo.. Talazo 84.
And I'm not sure if barrister's fuji garbage rap came before shinamania.

NextBuhari:
Freewindz?

Greizman:
Good job you are doing here.. You brought back memories.
Actually wasiu ayinde sang the first yoruba rap music in Talazo.. Talazo 84.
And I'm not sure if barrister's fuji garbage rap came before shinamania.

Indigenization Decree and the 1970s boom


In 1972, concerned about the influx of foreign culture into Nigeria, the Indigenization Decree was issued by the then head of state Yakubu Gowon; which demands the transfer of ownership of about a total of 300 film theatres in the country from their foreign owners to Nigerians.[10][6][17] Also, more Nigerians started playing active roles in cinema establishment; notable examples of this include: Metro cinema and Rivoli Cinema, which was owned by Chief Lisabi, and Danjuma Cinema by Alhaji Danjuma.[11] This transfer also resulted in the emergence of Nigerian playwrights, screenwriters and film producers; popular literature and theatre works were adapted into motion picture. One of the most popular film people in this new wave was Hubert Ogunde, mainly because he promoted indigenous Nigerian language, arts and culture through his works.[10][17]

The oil boom of 1973 through 1978 contributed immensely to the spontaneous boost of the cinema culture in Nigeria. The presence of foreign investments led to the erection of several cinema complexes. In 1976, The 5000-capacity National Arts Theatre, Iganmu was constructed in Lagos. The theatre was incorporated with two cinemas, each having a capacity of over 700 people.[11] At this time cinema business had become a notable employer of many people and also served as an important social function, as Nigerians visited cinemas for relaxation and entertainment purposes.[11][20] The increased purchasing power in Nigeria also made a wide range of citizens to have extra money to spend on cinema going and on home television sets.[4]

Some foreign producers and directors also worked in Nigeria to make films in Nigeria, as a result of this boom, including people like Ossie Davis who directed Kongi's Harvest, a film based on the novel of the same name by Wole Soyinka, which was released in 1970. The film was adapted to screen by Soyinka, produced by Francis Oladele under the Calpenny Nigeria ltd production company.[4][19] However, Ola Balogun's post-Civil War film, Amadi (1975) was one of the first notable Nigerian historical films on celluloid, which reflected on the Nigerian pre-Civil War days when Nigerians were very united.[4] Balogun subsequently directed Ajani Ogun in 1976, a film which grew to become very popular,[4] and is widely regarded as the first "commercial" Nigerian film, due to its success.[21] Another film released after Ajani Ogun was Bisi – Daughter of the River (1977), which reflected Nigerian culture on film. Other popular films released in this era include: Bull Frog in the Sun (1974), Dinner with the Devil (1975); directed by the duo Sanya Dosunmu and Wole Amele, Ogunde's Aiye (1979), Jaiyesimi (1980), Cry Freedom (1981), and Eddie Ugbomah's The Great Attempt (1989); which was censored upon release, amongst others.[10][11]

Mosebolatan (1985) by Moses Olaiya has been reported as the first Nigerian blockbuster, grossing approximately ₦107,000 (approx. 2015 ₦44.2 million) in five days. Before then, Papa Ajasco (1984) by Wale Adenuga was reported to have made about ₦61,000 (approx. 2015 ₦21.5 million) in three days.[11] The success of films has been attributed to the fact that the faces of actors were already known from the once popular travelling theatre groups and the audiences were already familiar with the stories; Adesanya states that the "involvement of the Yoruba travelling theatre practitioners in motion picture production was perhaps the most auspicious single factor in the evolution of an indigenous cinema in Nigeria"[6] Much later, Hubert Ogunde featured in Bruce Beresford's Mister Johnson (1990). It was the first American film shot on location in Nigeria[22] and was criticized for its ridiculous perception of Africans and dark skinned people as a whole; a perception prevalent with several other western films at the time.[10]

This boost was however not limited to only films, as this era was generally a period when Nigerian entertainment experienced major boost all round; Nigerian music also became popular and prolific during this period.[19] The Nigerian nightlife scene came alive and highlife music was predominant. Musicians who reigned in this era include: Koola Lobitos, The Oriental Brothers, I. K. Dairo, Rex Jim Lawson, E. T. Mensah, and Victor Olaiya.[10] In 1979, the Nigerian Government recognized the importance of film and its relationship to the Nigerian cultural identity; as a result, the Nigerian Film Corporation (NFC) was established; the corporation was created under Shehu Shagari's military regime, as a standalone government agency to help develop the film industry.[17] The agency had the primary responsibility of regulating exhibitions of films, and censoring films shown at the cinemas - a responsibility later transferred to the National Films and Video Censor Board (NFVCB).[11][20]

Pre-Independence

In 1954, before Nigeria's independence, the Nigerian film industry became formally recognized as a sector and was grouped as a unit in the information department of the then Ministry of Information.[17] This unit was a re-organized local unit, which united the broader term 'Nigerian Film Unit' which had been established in 1949;[2] the function of this film unit was to produce documentary films and newsreels on local events of great importance, leading to the dominance of educative films in Nigerian theatres in the late 1950s[17] As at 1954, mobile cinema vans played to at least 3.5 million people in Nigeria, and films being produced by the Nigerian Film Unit were screened for free at the 44 available cinemas.[2] The first film entirely copyrighted to this unit is Fincho (1957) by Sam Zebba; Fincho is also known as the first Nigerian film to be shot in colour.[18]

Post-Independence

After Nigeria gained independence in 1960, the cinema business rapidly expanded, with new cinema houses being established.[11] However, there came a significant influx of American, Indian, Chinese and Japanese films; posters of films from these countries were all over theatre halls and actors from these industries became very popular in Nigeria. It was reported that Nigerian kids began to know more on "travails of American Indians than they did about the Wole Soyinka-led Mbari Mbayo cultural group, or the socio-cultural history of Nigeria".[10][17] However, in the late 1960s and into the 1970s Nigerian productions in theatres increased gradually, especially productions from Western Nigeria; this was basically due to former theatre practitioners such as Hubert Ogunde, Moses Olaiya, Jab Adu, Isola Ogunsola, Ladi Ladebo, Sanya Dosumu and Sadiq Balewa amongst others, who transitioned into the big screen.[4][5][17] Latola Films, which started the production of motion pictures since 1962, has often been noted as the earliest Nigerian indigenous film production company.[19] Television broadcasting in Nigeria also began in the 1960s and received much government support in its early years.[9]

Golden Age or Golden era are terms used in Nigerian film history to designate the motion picture industry of Nigeria from the late 1950s to the late 1980s.[1] It captures the mode of visual and sound production, as well as the method of distribution employed during this period. This period began with the formal recognition of the Nigerian Film Unit as a sector in 1954,[2] with the first film entirely copyrighted to this unit being Fincho (1957) by Sam Zebba.

After Nigeria's independence in 1960, the cinema business rapidly expanded, with new cinema houses being established.[3] As a result, Nigerian content in theatres increased in the late 1960s into the 1970s, especially productions from Western Nigeria, owing to former theatre practitioners such as Hubert Ogunde and Moses Olaiya transitioning into the big screen.[4][5] In 1972, the Indigenization Decree was issued by Yakubu Gowon, which demanded the transfer of ownership of about a total of 300 film theatres from their foreign owners to Nigerians, which resulted in more Nigerians playing active roles in the cinema and film.[6]

The oil boom of 1973 through 1978 also contributed immensely to the spontaneous boost of the cinema culture in Nigeria, as the increased purchasing power in Nigeria made a wide range of citizens to have disposable income to spend on cinema going and on home television sets.[4] After several moderately successful films, Papa Ajasco (1984) by Wale Adenuga became one of the first Nigerian Blockbusters, reportedly grossing about ₦61,000 (approx. 2015 ₦21.5 million) in three days. A year later, Mosebolatan (1985) by Moses Olaiya also grossed ₦107,000 (approx. 2015 ₦44.2 million) in five days.[7] The 1980s was also the period of major boom in the television industry, with several books from notable authors being adapted into television series.[8] Many of these television productions were later released on video and as a result, a small scale informal video trade developed, which led to the emergence of the Video boom in the 1990s.[9]

The Golden Age began to face a major gradual decline in the late 1980s; This decline has been attributed to several factors, including the reduction in the value of Naira, lack of finance and marketing support, lack of standard film studios and production equipment, frequent Government structural adjustment programmes due to military dictatorships,[4] as well as inexperience on the part of practitioners.[10][11][12] It is also generally believed by stakeholders that the decline in this era was due to negligence as a result of the oil boom, which affected other sectors of the Nigerian economy as well.[10][6] It has also been noted to be as a result of increase in the ownership of television sets across the country; the films produced during this era usually screened over a single weekend and are released on video the following week, it no longer made sense anymore to visit the theatres and most families preferred to wait a few days to get their hands on the VHS copies.[12][13] In the early 1990s, only a few of the once vibrant cinema houses were still in operation, and all had collapsed before 1999.[11] However, as at 2009, there's an emerging movement in the film industry, which is rapidly reviving the cinema culture of Nigerians once again.[14][15][16]

Noneroone:
Living in bondage gave birth Nigerian movie industry which changed to nollywood. It is easy to call those ones shot on celluloid and stage performances movies but it is doubtful whether movie making of the era possess requisite characteristics that will make one to brand it a "movie industry". It is also okay to trace the background of nollywood to the stage performances of the 60/70s and the tv drama series of the 80s, but to outrightly brand them nollywood is a bit of a disservice to history. The productions of the 70s and 80s were done by which company?
which marketing company distributed them?

Can you have a movie industry without home video?

Most of these were absent which was why nobody knew about them and the actors. They relied on cinema and TV sponsorship to reach their audience. is that one an industry?

To me, a virile movie industry needs three key things
finance (production)
creativity (directors, actors, video effects etc)
Marketing

Living in bondage brought these. Nollywood didn't start because of Nta issues with producers, it started when a Vhs importer couldn't sell off his goods and decided to try production. it was successful as he made more than three times the expected profit. other businessmen had to key into that using production companies. wealthy and popular actors, producers, directors and markers were born. Nice movies were made too and lucrative industry which later became known a nollywood was born.

salford1:
I don't know sha. It's on the web with release date of 2010. It is possible that it was not officially released till later.

TheKingIsHere:
You might be right

TheKingIsHere:
E get one naija guy were dey rap like dmx that time...cant remember his stage name or song again

Aystarz:
I'm sorry Naptu, but Kel didn't even study a couse remotely related to Medicine as a part-time student at LASU. She's very much still into music ,and last I heard of her in 2018 (when she was co-hosting a midday show on Lagostalks913 FM), she was on the verge of releasing an album.

Kel is on Twitter nowadays advertising her chicken wings. Her handle is @Kelonline

nams77:
It was a massive hit then. Kudos naptu2. I know say na only you fit run am
If like say i no see Dr alban its my life for the list, i for no gree

Can u do something on the 90s and early 2000. Tony tetuila, plantashun boys and some other good acts. It will be nice

joseph1832:
Whatever happened to Blaise? Men that guy can rap. To me she's the best female rapper in Nigeria, follow by Bouqui.

ntyce:
Nostalgia....

Kel, Kemistry, Shasha etc all faded off ....

ikorodureporta:
Naptu2, u'v not done justice to this post. I was expecting to see a real evolution from where you started, to the present day hip hop...

Before Dr Alban, you forgot the likes of Zakky Adzay, Weird Mc, Mc Smoke, to others like Dr Fresh, Intrudah, Def o clan, Nutty Pin, lyrical undertaker, chop d bone, swat root, etc. These were the days when the American scene had Pac, Biggie, Naughty by nature, Lost Boyz, wutang, etc, & the Jamaican Ragga crew like Buju banton, mad cobra, mad lion, capleton, Terry fabulous, etc
That's what really inspired our artistes then..
U just forgot all those artistes that pioneered MMV - Mr Music & Video DJs contest, including the top DJs Waxy, Snoop tha Damaja, Fryo, Humility, Midas...& GML - MasterLee, plus the other oga radio rap presenters like Eddie & JAJ.. & Kennis Music

All these set of people evolved the hip hop scene


Mode 9 remains my favorite!

ikorodureporta:
.. Before Kenny & D1, the guys that supported real hip-hop were Eddie, JAJ, Master Lee, Not forgetting the producer Nelson Brown

ntyce:
Not forgetting Benson and Hedges Golden tones....

That program played a great part in the development of hip hop.

There was also this concert that takes place at a beach in Lagos (can't remember the name now), it gave a lot of upcoming hip hop artist the platform to perform then.

Naptu2, if you can assist with the name of the show.

It is usually aired on Sunday mornings