(First e-published on 17th September 2009 By Tayo Solagbade)

Introduction

Now, I know from listening to Radio and watching TV that the "powerful" guys in the music business went out of their way to whip up responses from our musicians and their associates to Abati's many raised points.

They were very unforgiving in their condemnation of his use of words, and characterisation of their "brands" of music. Understandably so. Criticism can be quite hard to swallow sometimes - especially when it comes via a public medium like a widely read and respected newspaper AND from a well known and respected author, critic and commentator!

However, I feel compelled to add what I hope is a perspective that will help all affected or interested parties gain useful insight on this matter that can help us achieve positive progress in the industry. To do this, I have chosen to use a bullet point approach, based on specific aspects of Dr. Abati's write-up that I feel are most relevant.

Let me start by re-phrasing my title for this issue, to its MORE complete form. Rather than "Nigeria's Identity Crisis - Reuben Abati Was Wrong..?", what I really had in mind was "Nigeria's Identity Crisis - Reuben Abati Was Wrong...But Mostly Right!"

Yes. I honestly believe Abati did get a few things mixed up in his article, BUT I am strongly convinced that MOST of what he said was VERY right, and appropriate. Indeed, I feel his article achieved a major purpose I suspect he intended: To WAKE UP our music makers to the need to put more time, effort, and THOUGHT into creating their music. Something that is NOT happening much at the moment.

Where he was wrong:

1. On the issue of the country's name: I had to disagree with him on this. Who cares what Lugard's wife had in mind when she gave our country that name? Why should we be bothered with the issue of what she "must have thoughtfully included" the "-eria" for? As far as I am concerted, she was did not even think of us as a people, in arriving at that name. Our cultures, beliefs or heritage were certainly not considered by her when she coined that name. Which makes it quite difficult for anyone of us to feel any extraordinary sentimental attachment to it!

Having said that, THAT is no reason to discard or disrespect the name we were given. For the most part, we are stuck with it. However, if we choose to conceive and propagate variants of that name for communicating amongst ourselves, it really makes little difference. What is crucial is that we NEVER lose sight of the fact that we MUST always think and act in ways that makes our country look good to all who regard it. This is where we are losing it.

2. On the issue of musician's "names": Again the good Doctor got it ALL wrong here. When it comes to entertainment and branding (as was rightly pointed out by many stakeholders), names may need to be changed to boost the appeal to the target audience. Examples abound all over the world.

A musician choosing NOT to use his given name in preference for a "marketable" variant commits NO crime. Indeed someone like 9ice actually proves this by repeatedly calling out his own name (Alapomeji) in the lyrics of his songs. The young man is obviously very proud of his name - and language.

Then Dr. Abati started hitting the bulls-eye with intimidating accuracy in the rest of his article. I highlight a few notable points he made as follows:

1. On music needing to make sense: He hit a massive bull's eye here. I will point out that people overseas also make songs that seem not to make much sense (e.g. "Who let the dogs out? woof, woof, woof, woof!). But that is NO reason for us to do the same - and anyway, in their case those who sing that way are in the minority. Over here, the majority are that way! 

2. On the issue of musicians miming at public functions: I was grateful he did not miss this one out. It's a great irony that significantly diminishes the great achievements of this new generation of musicians. As Abati pointed out, they are all so much in a hurry to succeed that they lack patience to invest necessary time and effort to master their trade completely.

For instance, most cannot perform their songs with a live band. Most do (or can) NOT play any musical instruments. Watch seasoned musicians like Femi Kuti, Lagbaja etc, and you will see that they are used to doing these, and more. The ease with which music can now be created using computers is what has led to the proliferation of this new breed of "quick-fix" music makers.

3. Listenability: I really agree that in a few years (sometimes a YEAR), most of the music being produced by this new generation of "hurry hurry" musicians will NOT be listenable. Indeed, they are all so eager to get something into the market that these days they copy each other to the point of producing songs that sound so alike, you can't even tell them apart! ZERO originality and creativity. What a tragedy!

4. On Poor Values/Morals: Our new musicians mostly feel they need to think, sing, and act like their counterparts in America. They have been so conditioned by the American mass media's glittering portrayal of brazen sexually suggestive displays, that they feel a need to reproduce same in their videos and on stage, where possible. Abati referred to female Nigerian artistes trying for instance to expose "strategic flesh".

Question is: How does that make the artiste's singing sound better? Or like I always ask, do you want to sing or show off your body parts? Diana Ross and Whitney Houston are two good examples of VERY successful singers who cannot be accused of following the aforementioned trend. Why don't our musicians copy these ladies, instead of imitating the others who make up for their less compelling singing abilities by showing off their bodies (or is it booties?).

5. The National Anthem: I could not agree more with Reuben on this. Think about the South Africans for instance. Have you ever witnessed people from that country sing their anthem? They make it such a solemn, almost SPIRITUAL exercise. It means so much to them. The lyrics are not taken lightly. Americans, who our musicians like to copy, also behave in the same manner - which makes one wonder then why we don't!

Reuben asks "What kind of people are we? A dancing nation? etc".

I think the answer is that we are a nation of non-thinking, non-reflecting people. People who have somewhere along the line lost touch with reality - with what really matters, what is of essence in life. We have lost for the most part our need as humans, to find MEANING in life.

This is a fallout of the repeated battering of our collective psyche as a people by the terrible socio-economic abuses visited upon us by a powerful minority. Ours is the result of an escapist tendency though. Rather than fight back, we have chosen to "mutate" - and what we have become is now reflected in the kind of music we now produce!

Summary

To be honest, Reuben's article made me think a whole lot. I love the lyrics in most of Timaya's songs for instance, because I really FEEL he has a passion that shows through, and must have helped him persist in the manner of a warrior, till he overcame the attempts to put him down.

However, Dr. Abati through his write-up has correctly identified an area of potential improvement that artistes like Timaya and others MUST address.

Since I read that article, I have taken time to go back and listen to songs produced by our earlier generation of musicians, and have found myself re-discovering REAL music. It's great to see how our music has become more "marketable" and "danceable". But, it is crucial that the QUALITY of our music is also made appealing to more discerning listeners i.e. people who have good taste for music - as is typical of music enthusiasts on the international market.

Let our new generation of musicians wake up to the reality that the fact that they get invited abroad does NOT mean foreigners are the ones inviting them. Quite often, as we all know, the invitations are extended by Nigerians based abroad! This is in contrast to what happens with Internationally acknowledged musicians like Fela, Lagbaja, Hugh Masakela, Asa etc.

More importantly, our new musicians need to begin to MORE consciously use their songs/lyrics to pass meaningful messages to their listeners. Messages that MAKE SENSE - something we need to happen a lot more frequently in the industry. This, and good attention to improving the quality of SOUNDS created will make them produce more listenable music with longer shelf-lives, that the rest of us will be proud to play again and again, for ourselves, our children and even visitors from outside our society.