₦airaland Forum

First of all, 'That's Gangsta' is rightly categorized as Electronic Dance Music. Still, it's very much Hip-Hop in its core. Within the first instant of listening, your senses get to appreciate that they are being treated to a taste of electronic rhythms, such as is intended to transport the mood to those spheres where the musical rhythm dictates the mood. Talk of swaying, dancing and getting lost in the inescapable allure and colour of electronic music and this will be it.

Talk of swaying, dancing and getting lost in the inescapable allure and colour of electronic music and this will be it.

The instrumental sounds are selected in a manner that hints at the taste of the producer. And then they are arranged and altered at periods to make for an engaging listening experience. Needless to say, this is counted amongst one of those noticeably successful applications of digital effects in music production - and did we just miss out to say 'responsible use of digital effects'?

'That's Gansta' really does offer tangible lyrical substance to chew upon.

If we are to talk about the lyrical content of 'That's Gangsta', it would rather prove best to express surprise that 'That's Gansta' really does offer tangible substance to chew upon. It may be considered somewhat of an overkill; come to think of it, who would bother with listening to lyrics while riding the wavy heights of the song's electronic beats? Possibly, Strong A.R.M has his intentions; perhaps the lyrics are a vehicle for self-expression and he does so effortlessly: so much so that he ends up with a successful blend of Hip-Hop and Electronic Dance Music.

You should listen to Strong A.R.M's delivery of his lyrics. They are genuine and original. You can feel the energy in his delivery.

Talking about offering a blend of Hip-Hop and Electronic Dance Music in 'That's Gangsta', it's important to state that we treat it as a desert-dweller would treat a colourful parrot from the Amazon. Exotic, right? That's the closest description that comes to mind if you will agree. You should listen to Strong A.R.M's delivery of his lyrics. They are genuine and original. You can feel the energy in his delivery. And did you also notice that they blend in and flow in synchrony with the electronic rhythm?

It is highly recommended for DJ playlists in the Dance and EDM genres.

As far as relevant musical offerings go, 'That's Gangsta' is rightfully counted as one. It quite sticks to the mind long after it's been listened to. No doubt, it has a noticeable commercial potential. It is highly recommended for DJ playlists in the Dance and EDM genres.

Following the release of his music tracks, 'That's Gangsta' and 'Betcha Didn't Know', Strong A.R.M establishes his presence in the EDM genre, moreso for his unique brand which is heavily laced with elements of Rap and Hip-Hop. This exclusive interview with Ikenna Okeh of UbuntuFM introduces Strong A.R.M, his style and his process. 

We are glad to be in touch with you, Strong A.R.M. The first question that quickly comes to mind is the choice of your name. What's the story behind the name, ‘Strong A.R.M.’?


Thank you for your interest in me, I truly appreciate it. The story behind my name is a short one. Back in the day, I was in a group. After a while though, the group broke up, and I went solo. The name I had in the group was not good enough for a solo artist. I searched for about a week, and finally, one of the dancers from the group said, “… you should call yourself ‘STRONG A.R.M.’, and I thought, hey, I like it because it describes me totally in mind, body, and soul! And that is who I have been ever since!

By the way, the A.R.M. stands for ‘A REAL M.C’.

In a review of your music track, 'That's Gangsta', on UbuntuFM Hip-Hop, it's described as rightfully counted amongst relevant musical offerings within the Electronic Dance Music (EDM) genre. Besides, you had quite a lot to say with the song's lyrical content. Did the desire to express yourself come as a sole motivation for the song's creation?


Most definitely, because listening to a lot of other artists who are considered hardcore Hip-Hop artists made me just sit down and write ‘That's Gangsta’ in a very aggressive manner, to show how hard I can get as well. So I got the inspiration for that song from various artists.

Recent times have witnessed an increase in popularity and market value of EDM music, from being underground in previous years to having stepped into its 'golden era'. We at UbuntuFM are of the opinion that yours is quite a brand in its own right, considering its strong elements of rap culture. How far into the future do you consider this boom of EDM to go? On another note, do you consider a workable strategy to push the trends past Europe and America, into say, Africa?

Truthfully speaking, I'm still new to EDM and to be honest, doing EDM the way we are doing it was an idea brought to me by my man, Warren J. Gallimore, who is versatile in a lot of different music genres. A lot of the times when something does not look or sound great to me, he has a way of making me see it! That's what he did. So with this new blend of Hip-Hop and EDM, I do believe it's going to elevate into something even greater, hitting everywhere, even Africa! Hell, look at me now, I'm on UBUNTU FM … (laughs).

EDM has a long way coming from its Detroit House origins in the eighties. It has ventured out over the world and is now largely dominated by European acts. It has become main-stream – dare we say soul-less – which is not exactly our cup of tea. It seems to us that your music goes back to the root and blends it with rap elements – which, back then in the eighties, was still in its infancy too. Are we correct in our assessment?

You are very correct in your assumption. I'm an eighties baby! So I could not help but mix any kind of music I do with old school Hip-Hop of the eighties and nineties! Hip-Hop is a form of two music genres; Reggae music (D.J. Kool Herc) and Dance/Disco music (Grand Master Flash). Hence what I am doing is just a natural progression.

It's always the case that there's a story that made the man. What experiences shaped you into a musical artist? And if I may add, did you start off with Hip-Hop/Rap? And at what point did you venture into EDM?


(Laughs). Once, I heard ‘Rappers Delight’ at a young age. It was a turning point for me as far as my involvement with the Hip-Hop culture would later go. My mom bought me that record, so I guess I have her to thank! Before Hip-Hop, I felt like I had no kind of identity whatsoever, and when it came to certain things, I would always get passed over.  Once I started rapping though, people started recognizing me a little bit more, haters included (laughs). As time went on, Hip-Hop gave me my walk, my talk, my style, and basically my whole self-esteem came from being a part of the Hip-Hop culture. As a D.J., I have heard many EDM records but as far as incorporating EDM with Hip-Hop goes, it was an idea brought to me by my man, Warren J. Gallimore, and now, here we are!

I will want for us to talk about 'Betcha Didn't Know'. It's a song that has its strength not in its electronic beats but in the rap lyrics. Let's say it's also another of your works of musical art intended for self-expression. Right? Was there an occurrence or cultured observation that inspired the track?

Yes, there was. At that time, I wanted to show everyone what they didn't know about me. That's why the song is called ‘Betcha Didn’t Know’ so everyone would know how I get down on the mic!

It is evident that you feel some attachment to 'Betcha Didn't Know' and 'That's Gangsta'. It's likely that sort of relationship between the artist and his work. How has the public reception for both tracks been since their release?


Wow! The reception has been better than I anticipated.  It's truly been great all over the world. Even in countries I can't pronounce (laughs). The love and the write-ups have been a true inspiration for the new music I am currently working on.

The word 'Gangsta' has such social negativity associated with it. Does it not portend the same impression for your choice of title, 'That's Gangsta'? What does 'That's Gangsta' mean for you?


‘That's Gangsta’ is anything that is hot, good, and even great; anything you do in your life that is considered your best. It’s more like saying ‘that’s bad’ when you actually imply that something is good. It’s more appropriately used when you achieve the feat against all odds, even when people tell you that you couldn't do it in the first place.


Looking back at the course of your musical journey what would you consider to be your most remarkable moment? Is there something you would do differently if you were to do it all over again?


When I think back, one of my most memorable moments is when I got to shoot my first solo video for a song titled ‘Let’s Get It On’. I mean it was the greatest feeling ever with all the people who showed up to support what was going on. It was great. Before that, it was seeing my name on a record. It was the coolest thing ever.

What is your audience to expect from you soon? Do you have a project ongoing at the moment?


Yes, I am working on some new material that's going to be EDM and boom bap oriented, and trust me, you and everyone will get a taste of the STRONG A.R.M. when it's time to drop.

'Betcha Didn't Know' and 'That's Gangsta' have been enjoying airplay on UbuntuFM HipHop Radio, treating our listening audience to your EDM House beats and rap lyrics. Before we wrap up, do you have a word in parting for them?


Let me just say ‘thank you’ to Ubuntu FM, to all my contributors, and all my fans around the world. On behalf of my record label, Survival Crew Records, we will continue to bring you hot music, as long as you want to hear it. We will continue to do it on the real!

Thank you, Strong A.R.M. It's been a most insightful moment with you. Our gratitude for granting us this interview. The best of wishes, from us, on your artistic endeavors.


No, thank you for your time. It's greatly appreciated. And you will be hearing more from me and Survival Crew Records in the very near future! Peace.

"Bet'cha didn't know, it's about the crew ..." so begins the song. With this song, Strong A.R.M is set out for no other purpose than self-expression. The electronic beat serves only as a musical accompaniment for his raw lyrical content, punchy and flowing, and it does just that from a non-dominant position. With his previous musical offerings, it's noticeable he displays electronic instrumental taste alongside lyrics of substantial worth. But with 'Bet'cha Didn't Know',  it's best described that the electronic beat stoops for the lyrics to conquer.

The electronic beat stoops for the lyrics to conquer.

The song kicks off in quite a mood that is theatrical. Tasteful and well thought-out. You feel the pulse building. The tempo gains momentum and is picked up by Strong A.R.M's vocals, confident and energetic, and sustained with digital effects sorted and varied as could not never be better.

The song kicks off in quite a mood that is theatrical ... and sustained with digital effects sorted and varied as could not never be better

The wealth of this song is in its lyrics as earlier pointed out. It quite beckons on you to listen rather than get lost in the electronic rhythm. It is delivered with such energy that's averse to bridles. It's quite some treat listening to his ease around words; Strong A.R.M plays with it, with the rhymes and punch lines. He knows his way around lyrical flows even though his energy appears to be the most noticed among his other lyrical virtues.

The wealth of this song is in its lyrics

'Bet'cha Didn't Know' will make for a good DJ mix. And if it were to hit a crowd of EDM fans in a club, there is no doubting what reactions is to be expected. With this one, Strong A.R.M did achieve a work worthy of reference on the musical scene.

#EDM #HipHop #Rap #USA #Ubuntu #FM #Radio

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A song about love and romance; melodious, excellent vocal quality, lyrically expressive and musically engaging. A must have!

When first listening to ‘Hello’ the atmospheric feel to this track is immediately apparent. The listener will easily get hooked on the melodious tonal quality of the lead vocals. Even when taken onto a higher pitch, the vocal delivery remains consistent.

‘Hello’ features a rich sound canvas tastefully arranged which makes for an interesting listening experience whilst maintaining a seamless transition in rhythmic flow. One is sure not to miss out the complementary drumbeat with a solid bass and mellow keyboard tones. Soft and enriching female backup vocals.

Lyrically, the song offers not as much as its strongest points being the vocal quality, dynamics and the instrumental accompaniment.

This musical offering boasts a power of imagery with a memorable chorus and engaging rhythm. A song about love and romance, it will make for a suitable love-themed movie soundtrack! Well done Tochi !!

Listen to Tochi on Soundcloud: https://soundcloud.com/ubuntufmafrica/tochi-hello-extended

Writing For Nollywood: An Interview With Viddawood’s founder

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UbuntuFM talked to Darlington Chukwunyere - founder of Viddawood - an online marketplace that connects screenwriters with movie producers; on issues relating to Nollywood, reasons for establishing Viddawood, the challenges of writing for the screen.

The name ‘Viddawood’ has been popping up lately within industry circles. So tell us, what is Viddawood, and what services does it have on offer?

Viddawood is a community of screenwriters who believe in making positive impact on humanity through film. Our community is driven by a shared, collective responsibility and experience sharing.

Every writer in Viddawood is gifted. Majority of Viddawood writers are professional filmmakers, we all work under the Viddawood platform for a common goal, which is to better the world through our creative writing.

Viddawood is open to any aspiring writer who is looking for a platform to showcase raw talent; we have veterans who mentor aspiring writers, we offer consultancy to aspiring producers seeking professional counselling/answers pertaining to “The Script”.

Viddawood also offer services such as helping a client develop his/her original story/idea into a full plot, as well as screenplay. Ultimately, all we do in Viddawood is writing and selling very affordable and very good movies. We write for Nollywood, we write for Hollywood, and of course we have Hollywood-set screenplays as well. We aim at expanding to other parts of the world as we grow our network.

What actually led to the conception of Viddawood?

Film has proven to be a strong factor of influence on humanity, and at such, movies do not just serve as mirrors to the society, but a strong, influential voice that is respected and regarded, either advertently or inadvertently. For this reason, I chose to embark on my own mission to make the world a better place by creating, designing and painting better prototypes using screenplays. But I couldn’t possibly change the world all on my own, so I decided to find and network with people of likeminded vision. The Viddawood platform came about as a gateway. Secondly, I feel a responsibility to give voice to as many unknown talents as I could.

Does Viddawood gain knowledge of every script they represent?

All our scripts are well researched to avoid misinformation which of course will automatically deviate from our mission to positively impact the world. So, the answer is ‘yes’.

Are there particular genres or specifications which Viddawood looks out for?

Viddawood is a community of writers from diverse ethnic, religious, social and philosophical backgrounds. Therefore, it would be biased to focus on specific genres. The writers are allowed to flow as far as their ingenuity goes. So, for any potential customer out there, as long as what you seek is of positive moral implications, you are welcome to do business with us, at any time.

The bitter truth is that 50% of Nigerian producers do not regard the script as a priority in production budgeting, yet they want to shoot with the best scripts.

The scripts on offer at the Viddawood online store are quite appealing. But the tagged prices are unbelievably low. Going by that, are there actually chances that one could live off screenwriting in Nigeria? or elsewhere for that matter?

They seem to feel that maybe, they’re doing the writers a big favour by shooting their work, and this is certainly an irresistible luxury for ‘up-coming’ or ‘aspiring’ writers whose bright future virtually depends on how many big movies they have written in the past.

You know, the more of your screenplays or specs that gets shot, kind of builds your profile and subsequently reflects on the amount you would be charging in due course.

A Nollywood producer once told me that “budgeting for script in Nigerian totally depends on who you are writing for and who you are”. Sometimes a script might accrue high financial value, and at times it might be minimal, but most times, for rookies, there’s no financial value attached; the works are literally free of charge.

But the good news is this: the other 50% of producers in Nollywood are professionals who know the value of good scripts. It is all a matter of time and then every producer in Nigeria will respect and value the script, and screenwriters, as they should.

Hmmm … our tag prices. Well, as the African saying goes “every new chicken stands with one leg upon arrival”. I’m not actually saying we are chickens, quality-wise, but being new in the industry requires some incentives, and the low costs are one of them. To sum up your central question, writers can survive in Nigeria, at least with the patronage of the 50% who appreciate quality and professional scripts.

Quite a sizeable number of the local film audience are of the opinion that Nollywood misrepresents African culture. How do you perceive such opinion? And could this be entirely blamed on the screenwriter?

I strongly disagree with this notion because I see such opinion as being ungrateful for a rare gift. Yes, Nollywood is a gift to Nigeria and indeed Africa. Our industry should serve as an inspiration to our people rather than otherwise.

Imagine having to survive in such a hard economic condition, and yet making so much impact in such a short period of existence? Tracing the birth of Nollywood as far-back as Kenneth Nnebue and co’s Living in Bondage of 1992 to the subsequent titles, Nollywood has always represented Africa well.

The industry tries to 'right the wrongs' of the society by creating images that effectively mirror and Viva the society. The producers then, were not just after making profit, they were after changing people’s lives through their contents, as well.

However, in most recent times, following the high rise of piracy and the urgent need to secure the unsteady economy, producers have to device means of generating huge sales by dishing out controversial contents so as to make tremendous sales within a short period of time, probably before their products get into the hands of pirates and bootleggers. This has inspired a lot of despicable and unprofessional contents.

On the part of the writers, such producers tend to dictate what, and who they want on their scripts and the writer(s) are left with no other option than to accept, or go hungry. Like I said earlier, this is not a general image. This ugly practice however has to stop, and that is one of the reasons why Viddawood was born. That’s where we come in. We are here to link great contents to great producers.

Nollywood has grown at an astonishing rate, judging by the time frame it took to stand on the ranking next to Bollywood. Do you agree with the assertion that the potential of the industry is still far from being fully tapped into? How do you consider that the industry could be brought close to as full a potential as possible?

I have a dream, that one day Nollywood will be unified with the federal government, and also included in Government budgetary considerations. If Nollywood could have come this far, without government grants, imagine what could happen when there is government or corporate sponsorships? Certainly no producer would want to insist or mandate the director to create roles for certain individuals without giving opportunity to up-coming artistes when orders come from above. I’m not saying that the private producers should be totally displaced, rather I’m suggesting a collaborative output.

Can you imagine what could happen when every state in Nigeria has a vast portion of land designated for use as a film village? Well, this might serve as a business window for any investor out there. Go get some massive hectares of land, develop it, build a film village, you are in for gold mining.

I’m just saying we need film villages in the country, to start with. This would save producers a lot of troubles, and given set designers a chance to turn the industry around for good. It is only government that can provide such massive assets. However, communities seeking rapid development could also tap into the opportunity and volunteer locations. All the same, governments come and go, as well as government policies. Therefore, I’d advise the offers come from government, and not individuals.

On the other hand, filmmaking professional bodies, guilds and association like SONTA, DGN, AGN, etcetera, should step up their game beyond seeking personal interests. Imagine that as a Theatre Arts student in Nigeria, I have witnessed countless times of leadership controversies in AGN, which is of course a central figure that should assert positive example to others. They have done a great job so far by giving and maintaining the name ‘Nollywood’. But I think there’s more work to be done.

Amongst the scripts on offer on the Viddawood online store, is there any which you personally feel strongly about in terms of content quality, commercial appeal and social relevance?

Hmm, very huge a question. It’s like when you ask a fruit seller which of the fruits is sweetest. Of course you’d already know the answer… she wouldn’t want to return home with her wares. Well, removing sentiments, all our products are great in terms of content quality, commercial appeal and social relevance. I mean, this is the reason for our existence in the first place.

Viddawood was founded to produce scripts that possess the above mentioned qualities. However, if you ask me based on personal interest and preference. I love science fiction, I love Action movies, and I’m sure 'The Manimal' qualifies to top my lists; not because I wrote it but because of what it addresses. It is an eye opener for the Nigerian political terrain, embedded with elements of social reconstruction, and deconstruction of ethnic and political sentiments. Judging by the not-too-good state of the country politically, I feel it would surely serve Nigerians and indeed the world, well.

And of course, we have very engaging scripts written by Ikenna Okeh. He has a flare for African epic stories written with historical and cultural backdrops. What makes his style outstanding is his power of dialogue, the humour, action, suspense and the fast-paced action he sustains all through the duration of the story. ‘The Quick and The Dead’ and ‘Far From Home’ are some of his scripts on offer. And then there is a contemporary piece, ‘Wild Creatures’ which I personally find socially relevant.

What is a film producer likely to look out for when scouting for a movie script?

Budget should be the number one priority of any producer when scouting for a movie script. So, the cast, props, sets and setting of a movie script should be surveyed during budget consideration. I also think every producer should also strive to consider artistic and technical qualities like: what messages are involved, what issues are being addressed, the relevance of the script’s objects and subjects to society.

A good movie script regardless of the genre must not just make the audience smile, laugh, cry or gasp. It should be able to make someone stop, take a moment or two to ponder over certain things and not just skipping to the next movie or two. Generally I believe every producer should consider posterity at all times.

Do you think the screenwriter should be more focused on artistic delivery than on commercial appeal?

Being a professional writer entails following professional standards and these standards include adherence to ethics and business agreements. Thus, there should be a marriage between including the producer’s “professional” preferences alongside painting breathtaking pictures borne out of ingenuity or inspiration. These very factors are indispensable and therefore should not be displaced or misplaced.

Let me ask you, assuming you are a caterer, how would you feel when you cook for an occasion and no one eats your food? Every movie script should address the demands of the target audience well enough to assure reasonable returns on investments, else we send producers back to their villages and as well follow them behind. Because once they run out of business, we also are worse off.

What advice would you give to people who hope to break into the field of writing for the screen?

What are you waiting for? Grab you pen and paper, grab your tablet, PC, whatever, start writing. But don’t make the mistake of thinking you must hit the big break with your first write. No, no. Remember you’re the one painting and creating the world of fantasy for viewers, would you rather live in the same world, knowing fully well that such worlds only exist in our minds?

You may or may not hit it big with your very first script. But only exceptional writers do, and that’s why we created Viddawood to offer a platform to exceptional writers. You are always welcome to join, free of charge, if you are that exceptional writer.

It has been an insightful moment with you, Darlington. Thank you for your time. We look forward to great stories coming from Viddawood to the many big screens.

Thank you so much for the opportunity to share with you. And yes, Viddawood will not fail to deliver great stories to the world of movie lovers and producers.

#Nollywood #UbuntuFM #Viddawood

Viddawood.com sells ready made movie scripts:http://www.viddawood.com/

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Why must the children cry? Why? A 10 year old boy was killed by a stray bullet.
When do we adults come to our senses?

Violence erupted in Imo State, Nigeria on Sunday morning August 27, 2017 as the state governor, Rochas Okorocha proceeded with the demolition of the famous Eke Ukwu market.

Traders and youth resisted and began a protest which turned deadly as a stray bullet killed a 10-year old boy and several others sustained injuries. The scene at Owerri has been described by many as a war zone and Nigerians are reacting to the sad event on social media.

Without going into the specifics of said event one question may came to mind now reports are starting to trickle down via social media. Why? Why, again and again, do children fall victim of the crimes perpetrated by adults. This innocent lad wasn’t born 10 years ago into this world only to leave it prematurely because of a stray bullet.

The mother and father of the child didn’t bring the boy to this world with the intent to part from him prior their own ascent. The child was born out of their love not to be countered by this hideous crime 10 years onwards.

The governor’s decision as to why the famous Eke Ukwe market had to be taken down is of less relevance, when considering the measures that should have been taken in order to pre-empt and de-escalate possible violence as a response and expression of public outcry.

What was the chain of events that led from the governors decision to the death of the innocent?
Surely there had to have been many steps in between to get from demolition to death.
The bullet could not have gone astray if the shot had not been fired.
The shot could not have been fired if city workers, public servants, had not surrounded themselves with gunmen.

Public servants. Politicians, policemen, governors and the military ought to serve the people, for without this proper and just cause they lack raison d’être. They become redundant, all non-void.

So why this innocent lad? Why must this child and so many children around the world cry?? Why are they in pain It's because of the confusion in our parliaments, our societies at large. Power hunger and corruption are the symptoms. Evil it's cause.
No love for humanity. No respect for creation. Rebels without a cause.

Our language consoles, condones and camouflages the truth. A stray bullet.
An incident over here, another occurrence over there. Words without meaning.
Babylonian babbling. Hollowing out that what is holy. Life. Creation.

Words have meaning, value. A string of words form a sentence. Rules of grammar.
Constructs that enable us to express, communicate and share. The Truth.

The chain of events as occurred at the Eke Ukwe market, are part of a bigger chain.
The real chain that is strung around our necks. Modern day slavery. Oppression.
Systemic, endemic, pandemic, parasitic. Sucking and leeching on the lifeblood of humanity.

Words. Words have meaning. Words are powerful, but only if they are rooted in righteousness.
Democracy. Capitalism. Religion. Inventions sprouted from sterile, lifeless minds, serving hollow chambers of power without dominion.
Because we are allowed to vote? Because we are allowed to eat the food from our plate? Because we are allowed to be part of the flock?

No well will quench our thirst and need for justice and righteousness. Oppression will only be met by opposition. Righteous indignation.

To serve doesn’t mean to be servile. It is a duty, obligation and honor to be bestowed upon with the trust of our fellow men. To safeguard, protect, nurture the innocence of our children, in order to see them grow, mature and become full members of society. Not to be taken down by stray bullets, hunger, poverty, inequality, perpetrated by systems and operators that are rigged against them.

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The 10 year old child, Somtochukwu Ibeanusi, who died at Eke Ukwe market on August 27, 2017 shall not have died in vain, the grief of his parents shall be quenched if we learn, understand and accept that power without justice and righteousness is but a hollow shell. This shell will burst one day, one way or the other. Empowerment is the key. Education of life. Understanding its true value, meaning and significance.

To serve means to be humble, meek and wise. It is a duty, obligation and honor that has been bestowed upon us by God for those of you who are believers. It is a duty, obligation and honor that is the essence of what it means to be human. To safeguard, protect, nurture the greater good of humanity. The sanctity of life. The innocence of the innocent. Our children.

Why must the children cry when there is no longer a reason for them to be in pain.

Sources:
https://www.lindaikejisblog.com/2017/8/prayforowerri-nigerians-react-to-rochas-okorochas-demolition-of-eke-ukwu-market-in-imo-state.html

http://francisonwuchuruba..nl/2017/08/i-wonder-where-their-consciences-are.html

Image credit:
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M.I. Imperfect Me

UbuntuFM Africa: http://tunein.com/radio/UbuntuFM-Africa-s280896/

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#MUSIC #REGGAE #SOUTH-AFRICA

UbuntuFM Radio interviewed South African singer KEENIATTA

Recently King Vusi Mavuthela of UbuntuFM Radio conducted an interview with KEENIATTA aka EMPRESSK. KEENIATTA, born in South Africa but a global citizen for most of her life, talks about her music, her new album "UNIVERSAL LOVE" and her special project #NeverGiveUp

KEENIATTA shows her talent as a singer and performer since she was a child. She grew up listening to Aretha Franklin, Patti La Belle, Tina Turner and Diana Ross as well as a lot of other music. Her music career begins as she wins the 1st ediiton of the “Shell Road To Fame”, a famous talent show in South Africa, by signing with top labels to record a few albums released in South Africa. Polygram released her album “Round and Round”, as KEENIA, whose title track was nominated at the South African Music Awards (SAMA) for “Best Contemporary Dance Music Performance”, earning the nomination for “Best Artist”.

KEENIATTA performs in many countries around the world. Whether performing at Gala Events and Festivals, in Luxury Hotels, on Cruise Ships or at VIP Parties, her performances always turn out to be a huge success. She also performed for and together with many VIP's. Stevie Wonder, Patty Labelle, Andrea Bocelli, Bob Johnson, Hillary Clinton, Michael Jordan, Queen of Thailand, Barbara Sinatra, Lionel Richie, just to mention a few whom she became acquainted with. Last but not least she performed for former 1st lady and 1st female democratic candidate to USA Presidential Election, Mrs. Hillary CLINTON, in occasion of the Half Time elections and she also performed at the Official Party opening the celebration for the Inauguration of USA President Barack OBAMA 1st mandate.

She is always involved in composing music, writing lyrics and producing any of her projects. Thanks to her versatile voice, KEENIATTA’s journey of the music world has no boundaries about music genres. “Rewind”, her Neo- Psychedelic-Rock album, received a very good good feedback on the web, where it is available for listening, and took her voice to win the hearts of many new fans around the world.

Since a few years KEENIATTA has been living in Ischia, an isle in the South of Italy, where she bases herself when not touring. In one of her latest trips back to South Africa she has been directly involved in a few artistic projects including the production of her gospel project “Trinity”, distributed by EMI S.A. and whose songs she wrote and directed in collaboration with many South African artists.

On her latest album "UNIVERSAL LOVE", KEENIATTA ventures out into Reggae with a touch of R&B. Her voice is very well suited to the genre, as our KEENIATTA SPECIAL broadcast will reveal. KEENIATTA's blend of Reggae and R&B is quite rare, yet KEENIATTA manages to encompass and combine the different style elements together into a smooth and entertaining mix. Music with a message!

One Love KEENIATTA!

Forward ever, backward never!

#NeverGiveUP #UbuntuFM

Keeniatta on Soundcloud
https://soundcloud.com/keeniatta-baird/got-yo-back-prod-by-bobby-grease-hands

UbuntuFM on Soundcloud
https://soundcloud.com/ubuntufm

UbuntuFM Radio Africa
http://tunein.com/radio/UbuntuFM-Africa-s280896/

UbuntuFM Africa on Facebook
https://www.facebook.com/ubuntufmafrica/

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#MUSIC #REGGAE #ZIMDANCEHALL #ZIMBABWE

Kudaman the king of ZimdanceHall is a Zimdancehall Reggae artist and performer from Zimbabwe, currently based in South Africa.

Born Kudakwashe Chimba AKA Kudaman on 29 June 1986 in Mutoko, Nyamuzuwe in Mashonaland East province of Zimbabwe.
Kudaman started writing songs in 2001 in the form of Zimdancehall Reggae and his first recording was done in 2007 at Chinhoyi under Tipe Productions. His music ranges from anti-drugs, love, social teachings to gospel preachings in Rasta style.

Dancehall music is in general the common Zimbabwean style of music which has taken over the music industry by storm, inspired by Jamaican original reggae music by the likes of the great legends like Bob Marley who was invited to perform in 1980 after the liberation, Peter Tosh and many more.

Whereas Bob Marley and Peter Tosh are commonly typified as Roots Reggae artists, Dancehall is the more light footed, danceable branch from the tree of Reggae.

Kudaman is currently based in South Africa where he is performing live with Reggae artists. His music is mostly written and recorded in his mother tongue Shona. He is a humble artist with unbelievable stage performance.

Kudaman and his production crew know their business. They have encompassed the original Jamaican Dancehall rhythms and sounds, in particular the bass & drum sound - the heart of Reggae music - and blended it with African flavours.

Kudaman's music is featured on UbuntuFM Africa and Reggae channels. Enjoy!

ZimDancehall Divas™ on Soundcloud
https://soundcloud.com/zimdancehall-divas

UbuntuFM Radio Africa
http://tunein.com/radio/UbuntuFM-Africa-s280896/

UbuntuFM Reggae Radio
http://tunein.com/radio/UbuntuFM-Africa-s280897/

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UbuntuFM is on-line community with several outlets on the web. We aim to spread the Ubuntu message of ‘humanity towards others’ across the globe.

On the (principal) meaning of Ubuntu: Ubuntu (/ʊˈbuːntʊ/ uu-boon-tuu; Zulu pronunciation: [ùɓúntʼù]) is a Nguni Bantu term meaning "humanity". It is often also translated as: "the belief in a universal bond of sharing that connects all humanity"

The meaning of Ubuntu is best expressed in the words of Pres. Nelson Mandela:

“A traveller through a country would stop at a village and he didn't have to ask for food or for water. Once he stops, the people give him food, entertain him. That is one aspect of Ubuntu, but it will have various aspects. Ubuntu does not mean that people should not enrich themselves. The question therefore is: Are you going to do so in order to enable the community around you to be able to improve?”

Ubuntu is a tradition, a universal truth, a way of life underpinning the concept of an open society.
Freedom. Respect. Helpfulness. Sharing. Community. Caring. Trust. Unselfishness. This is the spirit of Ubuntu.

UbuntuFM = Ubuntu + FM: broadcasting the 'Ubuntu' message by all means possible.

Ubuntu is from Southern Africa and so is UbuntuFM. We are based in Johannesburg, SA. Our community is however global with members from more than 100 countries. We aim to eventually have representation in every country of the world. We’ve joined nairaland.com to connect to the people of Nigeria, as we are reaching out to people from other countries as well.

Our way of reaching out to you is primarily by means of ‘story telling’, one of the oldest forms of communication that dates back to the dawn of humanity. Our stories are articles and posts we publish on our website www.ubuntu.fm, various other websites and fora like Facebook.

Another way of story telling is music. We currently feature three on-line radio channels. The music is so abundant. It cannot be contained to one channel. We therefore distribute it along general themes: International. Africa and Reggae. We are currently preparing the launch of a Hip-Hop channel and are contemplating on a Jazz channel. These are general themes. The format of our radio is however MUSIC.

You will find African, Pop, Rock, Jazz, Blues, Latin, R&B, Soul, Disco, Hip-Hop, Funk, Dance and Reggae music featured on basically all channels. Top 40 hits, singles, album and live tracks, even spoken word. It is all there from as far back as the 40’s up to today. Each channel has its own story to tell and takes you through all the different genres and musical ages. For you to enjoy!

Do you have a story to share with us? A poem, music track, event, picture, blog article or video? Please let us know.

UbuntuFM social media presence:

Main website
https://www.ubuntu.fm/
UbuntuFM blog on The African Exponent
https://www.africanexponent.com/blogs/UbuntuFM
Facebook
https://www.facebook.com/ubuntufm/
https://www.facebook.com/ubuntufmafrica/
Tumblr
https://ubuntufm.tumblr.com/
Twitter
https://twitter.com/ubuntu_fm
https://twitter.com/UbuntuFMAfrica
https://twitter.com/UbuntuFMReggae
Pinterest
https://za.pinterest.com/ubuntufm/
Instagram
https://www.instagram.com/ubuntufm/
Internet Radio
http://tunein.com/rad…/UbuntuFM-Radio-International-s279830/
http://tunein.com/radio/UbuntuFM-Africa-s280896/
http://tunein.com/radio/UbuntuFM-Reggae-s280897/

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#MUSIC #HIP-HOP #NIGERIA

UbtuntuFM community contributor Ikenna Okeh interviewed Keybone, independent Rap & Hip-Hop artist from Nigeria.

Q. It is nice being in touch with you, Keybone. I'm curious, could you tell us the meaning behind the stage name 'Keybone'?
A. Keybone is my rebirth name, similar to that which others call themselves after a change in religion, faith or beliefs. If time permits you to dissect my name, its essentials will marvel you that I am the key and bone. These two elements are vital in lots of ways beyond explanations. It's a name I got accustomed to before the millennium and that which will be a household name in due time.

Q. Let us talk about your debut album, 'Going Pro Vol. 1'. We learned it was written and recorded in Johannesburg. What's the story behind the album in relation with the location of its birth?
A. As a new artist, people often refer to us as underground, locals or amateurs for whatever reasons best known to them as it helps to class or describe where we are. Going Pro, Volume1 is my first pass into a new phase of greatness. It's safe to say Nigerian and South African hip-hop artistes are doing a lot to develop the rap music culture and as at the time of the recording, I was residing in Johannesburg, where I was inspired by the people, city and everything around me to write these songs. To avoid a fabricated success, it is very important to grow with time, build up on a solid foundation and let the work speak volumes.

I make music for the matured minds who care about lyrical content and substance.

Q. A few weeks ago, UbuntuFM did a well-received 'artist focus' on you. Your brand won for itself a sizeable number of audience and of course, fans. What are your new audience to expect from your newly-released album?
A. My album is aimed at developing an everlasting relationship with my followers and providing quality music that will enable us grow old together. I make music for the matured minds who care about lyrical content and substance. My album; Going Pro, Vol. 1 is enriched with good music and it speaks to a wide range of audience with different taste and variation in style.

Q. There's this school of thought that holds onto the notion that hip-hop music currently coming from Nigeria is successful only as much as beat making is concerned. They are convinced that lyrics and content of Nigerian hip-hop is mostly very shallow. What's your take on this?
A. Sincerely, the notion that Nigerian hip-hop is strictly based on fairly good beats and shallow lyrics is true. The number one songs and artistes can't rely on big booty songs all the time and expect a miracle in regard to sales, growth, relevance and all. It has been rumored that Nigerian hip-hop is dying and I understand why there is so much panic and confusion when it is being said. The genre is saturated with such type of songs and it gives room to such notions.

I am at the genesis of my music career and patiently await great things to unfold.

Q. Besides entertainment, are we to expect that your music champions any causes?
A. As it stands, I am at the genesis of my music career and patiently await great things to unfold and as it progresses, when the good news breaks, you will surely be notified. I have interests in a lot of ventures and will surely tick them off my list before this earth passes away.

Q. About the music industry, how do you relate the Nigerian music industry with that of the rest of Africa especially as it concerns sales, distribution and promotion?
A. Nigerian music industry isn't doing very well with regards to sales and distribution, but South Africa seems to be doing the most because I learnt of their sales certifications. The distribution and promotion channels are there, but African artists are yet to tap into, explore, or at least make the best use of it.

Before recording music, I was into poetry and gaming. For now, my music is all I have to share.

Q. I believe your fans will want to know something private about 'Keybone'. Anything to share?
A. In my private life, I keep to myself. Before recording music, I was into poetry and gaming. For now, my music is all I have to share.

Q. What are we to expect from you in the near future? Any projects currently in the works?
A. There is going to be a sophomore album titled; Going Pro, Vol. 2 and I am currently in Lagos, Nigeria, working on it. When the record is done and ready to go, you will surely be notified.

Q.Thank you, Keybone. I did enjoy your rap most especially. It's been a pleasant experience being in touch. We hope to see you more often.
A. Thank you so much.

Kehinde Oladele Arifayan; (born on April 17, 1984), also known by his stage name KEYBONE, is a Nigerian independent rap and hip-hop artist, whose music journey started at a tender age from writing poems and he is influenced by a vast wealth of African beats, rhythm and soul music. Being born and raised in Lagos, Nigeria, Keybone's music style and interests developed into conscious music and his debut album titled; Going Pro, Volume 1 was written and recorded in Johannesburg, South Africa. Singles off the album; '' Let Me Go, Look At Me Now and My House'' have been respectively aired on radio since release and widely accepted.


Keybone's music catalog is available for download and streaming on iTunes, AppleMusic, Deezer, Spotify, YouTube and all other music streaming services. Follow Keybone on Twitter, Facebook, SoundCloud and Instagram: @OFFICIALKEYBONE

Keybone on Soundcloud
https://soundcloud.com/officialkeybone/my-house-prod-by-dr-jazz

UbuntuFM Radio Africa
http://tunein.com/radio/UbuntuFM-Africa-s280896/

UbuntuFM Africa on Facebook
https://www.facebook.com/ubuntufmafrica/

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#MUSIC #HIP-HOP #NIGERIA #GHANA

UbuntuFM community contributor Ikenna Okeh interviews Nigerian Hip-Hop artist.

Q: So, Ashman, I wouldn't be asking for an introduction; you're my homie, my dude from my hood. But for the benefit of those who do not know you so upclose, I ask that you do a little introduction of yourself.
A: Yaga!.. I'm Ashamole Christian Ifeanyi, popularly known as Ashman. I come from Ikeduru, Imo state in what's presently known as Nigeria. At the moment, I'm resident here in Ghana.

Q: About your hit single, OBServe: It's been airing on the UbuntuFM Africa channel lately. How does it feel like, having your track played to an international audience in as far as Germany, Brazil, The UK, U.S, Mexico, The Netherlands and South Africa?
A: Wow! To be sincere, I was extremely excited when I got to know that OBServe was not only being played to a Nigerian and Ghanaian audience, but across West Africa, to South Africa and many other countries. To me I feel it's a great achievement and a thing of great joy. I honestly didn't see it coming.

OBServe me, as I OBServe you. Care for me, as I care for you.

Q: A good number of our audience have an appreciation for OBServe. Its lyrics contain a strong social statement. Tell us, what's the story behind OBServe? What inspired the song?
A: OBServe, as the name implies, is all about observing or caring for your brother, and vice-versa. The inspiration came from the recession that faced Nigeria and Ghana throughout 2016. Nigeria is even yet to recover from it. There was very little resources in circulation, no money for survival. And then there were instances were fathers had to kill sons for money, there was the humanitarian crisis over the legitimate agitation for Biafra's self-determination, ritual killings, etc. I had to put something out to the streets, telling people about how we could love one another in our belief in God.

Q: You left Nigeria for Ghana to pursue music. How has the move been going for you? And by way of comparison, do you think it's a better atmosphere in Ghana or
elsewhere on the continent?
A: At first, I moved to Ghana for the sole purpose of studies. But then, while studying, I realized that it was easier for your music to get an audience in Ghana. Ghana has great love for entertainment, I must say. Although it's not a big industry here when compared to Nigera's yet it can be more easily penetrated into. Pursuing music here in Ghana is much more easy and inspiring. Besides, considering the fact that I am not Ghanaian, I have to work harder here at proving myself.

Q: So, tell us, what are we to expect soon? OBServe has whetted our appetite, you know.
A: Wow! Actually before OBServe, I had dropped a hit track titled "WANT". It was an amazing experience, I tell you. And now, here is OBServe. The next song is going to be really crazy, and I bet you, the street will love it. There are more surprises I have under my sleeve. You only have to anticipate. But I assure you, you won't be disappointed.

Q: You know, now I think of it, I can guess that your stage name, Ashman, is derived from your surname. Am I right?
A: Absolutely right. "Ashman" is derived from my surname, Ashamole.

Q. When not recording or performing, what do you do?
A: Hmmmm. I actually have love for soccer. I play soccer a lot. Most times I observe my quiet moments or write songs. I also own an entertainment company, Ojala Milagro. At Ojala Milagro, we host events for orphanages as a medium through which people can give to society. Ashman Baba Yagaw is never a dull guy. So, no dull moment for me.

Q. Do you have any suggestions as to how the music industry in Ghana and Nigeria can be improved upon?
A: Well, seeing how good our artistes are doing, I also think they can do better if there are platforms for the upcoming ones to showcase their talents and get a chance at getting picked by established record labels. It's a strenuous fight as it is. Such platforms and similar opportunities will go a long way in improving the both music industries. Ok, let's take for instance, my bro, Wizkid, who signed in Efya, R2bees and Eazi to Starboy Records. Look at the two major artistes, R2bees and Efya, how many hits have they got? But my bro, Eazi, who was signed in as an upcoming is making numerous hits and more money for Starboy Records. I must thank UbuntuFM for coming in to fill up a need at this time.

Q. I must say you have made the hood proud with OBServe, Ashman. A lot of us from the hood will be reading, so here's an opportunity for a shout-out. Let's hear it.
A: Firstly, big thanks to God Almighty, because without Him there would never have been an Ashman. I'm giving a shout out to my family, for their unceasing prayers, and to my beloved team #Badness #Ojala Milagro. And of course, I give a shout out to my sweet fans out there. BLESS.

Q: It's been a remarkable one with you. Thanks for the opportunity. We, at UbuntuFM, hope to hear more from you soon. Blessings, brother.
A: Big thanks for the opportunity. Thanks for playing my song back to back, and for supporting me. May God richly bless UbuntuFM and everyone behind it.

Ashman on Soundcloud
https://soundcloud.com/ubuntufm/sets/ashman-creation-artist

UbuntuFM Radio Africa
http://tunein.com/radio/UbuntuFM-Africa-s280896/

UbuntuFM Africa on Facebook
https://www.facebook.com/ubuntufmafrica/