Djinee biography books
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In this ode to classics, we unearth and celebrate the enduring beauty of old Nigerian songs.
By Hope Ibiale
Weeks ago, Asake performed at the O2 Arena to the delight of many Nigerians. For most of us, the show in London was distant, but Asake’s performance and that of the other musicians couldn’t have hit closer to home. On social media platforms, discussions opened as to how Nigerian artistes are comfortably selling out large stadiums and arenas, and how these milestones were worth celebrating. A couple of days after this, a video of the veteran King Sunny Ade performing in Japan decades back circulated on the Internet. This registered something in my mind: touring abroad is not necessarily a new invention, and there is a gaping hole in documenting the Nigerian music industry.
There are few articles and documentaries that weave through decades and connect the current soundscape to the past ones. As such, important backstories are lost. With documentaries that consciously ex
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Ego (singer)
Nigerian musician
Nwakaego Ihenacho Ogbaro,[1] known professionally as Ego, is a Nigerian singer and songwriter. Ego has recorded songs such as "Konko Below", "Nothing for You" and "Never Far Away".[2] She frequently went on world tour with Lagbaja. Ego left Africano to pursue a solo career in 2007. She later formed a band called Indigo. Since leaving Lagbaja's band, she has collaborated with artistes like Sunny Nneji, Djinee, Tosin Martins, Ayanbirin and Blaise, among others.[3] She has also performed with Weird MC, Aṣa, Cobhams Asuquo and Yinka Davies. She released "I Believe", the lead single from her debut studio album. She was signed as a Globacom ambassador in 2008.[4]
Education
[edit]Ego attended huvud Primary School and Ikeja High School, GRA in Lagos. She graduated from high school in 1991.[5]
See also
[edit]References
[edit]External links
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Extract from Fat Man’s Shadow (1988)
This is from Chapter 25 of my first novel. The setting for this part of the story is a real place, a house in Istanbul in which I myself lived for a year in 1977-8. It was the Priest’s House – the “Papa Ev” – which stood inside the walled compound of Christ Church, an Anglican church in the heart of the Beyoglu district. The church, a characteristic piece of English Victorian neo-gothic, was completely anomalous in this setting. It was mothballed when I knew it and in the story inom had it leased for criminal purposes by an ambitious American crook, who has installed his Turkish servant Yakup to look after the place. On this particular day, unknown to anybody, the church is under the surveillance of a different criminal group, who follow Yakup in his visit to the Kerhane, a street of brothels. This may seem a lurid location, but it is quite accurately described.
Yakup yawned mucously, reached beneath the sheet and scratched his belly. Then