I've Got A Story To Tell
Breakdown Of What Makes Nigerian Culture Pop!| Vol. 5
Today, we go back in time…
The Eagle has been flying in this game for a few seasons now and yesterday I received a call that brought back the memories of how I got started in this business.
It was an uneventful day at Zmirage, a leading events production team in Lagos owned by Alhaji Teju Kareem. Zmirage was where I did my NYSC service with Adeola Osunkojo, now an award winning director in Nollywood.
The day was almost over and I was chilling till when I could go home. Mr. Biyi Oni who was my egbon in the office and the number two man in the company asked me a question that would change my life forever.
“Ayo, do you want to follow me to Hip-Hop World?”
You see, Uncle Biyi was referring to the office of Hip Hop World Magazine, Headies and Hip TV (then a programme on TV).
I was stunned. Hip-Hop World Magazine? The same Hip-Hop World Magazine?
HHWM was more than a magazine, it was an institution. It was an establishment.
I only had four textbooks while I was at the University of Lagos, The Source, Hip Hop World Magazine, XXL and VIBE. I was your stereotypical Hip-Hop head who would argue with course mates under the tree in front of the Mass Communication building about G-Unit and Murda Inc.
If you met me at UNILAG then, chances are that you would see me with any of these four mags. Hip-Hop World Magazine was revolutionary. It had thought-provoking pieces and articles written by brilliant young minds.
It wasn’t afraid to be controversial. In one edition, the magazine blasted Maintain for being Hip-Hop sell-outs. That took guts at that time.
A lot of people might not know the importance of Hip-Hop World Magazine today but back in the day, it was the most important and authentic platform for the curation of Hip-Hop and pop music in Nigeria.
It documented the highs and lows, it spoke to the pioneers, it covered the controversies and covered the culture. It gave a chance for the future stars.
For me, the latest edition of HHHWM was a must-have. It was revolutionary from its coverage of the culture to the quality of printing at that time.
I sunk so much money into buying HHWM editions and reading the articles over and over again to imitate the styles of writing.
I even applied to be a writer over at the magazine when I was in school.
So, when Uncle Biyi asked if I wanted to go, my answer was “hell yes!”
Now, years later I had the chance to go to the home of Hip-Hop writing in Nigeria. My day was made.
I remember stepping into the office at Allen Avenue. It was much smaller than the edifice that is Smooth Promotions now (the mother company that houses Hip Hop World Magazine, Headies and Hip TV) but I treated it like hallowed grounds. I stepped gently on the floor and sat quietly on the chair at the reception area.
“Do you want to write for them?” asked Uncle Biyi. This was another question that changed the trajectory of my life.
Did I want to write HHWM? Hell yeah. It was a dream come true. To write for a magazine that the likes of Bayo Omisore, Ayeni Adekunle, Efe Omorogbe, Folly Krypton and others had written for was huge.
Uncle Biyi told me he would ask Ayo Animashaun the publisher of Hip Hop World Magazine. They were best pals and went way back.
Uncle Biyi and I were ushered into the conference room a few minutes later and that’s when I saw him for the first time, Ayo Animashaun, the revolutionary.
He was in the middle of the room holding court, giving a few instructions to some of the staff.
I don’t think he knows it but his words at the beginning and end of each edition of HHWM filled me with the belief and courage that our generation could be the best in the world. Ayo Animashaun believed (and still believes) that nothing is impossible as long as you have the imagination and courage to go after what you want.
And Ayo Animashaun did. I have seen this man come up with ideas that looked impossible or far-fetched but would go on to execute them so many times. His belief system is almost god-like.
He has challenged the status-quo so many times and won on his own terms. You could imagine back then how an inspirational figure he was to a fresh graduate like myself trying to understand the world.
At the conference room, I just stood there not saying a word.
Ayo Animashaun greeted Uncle Biyi and he ushered us into his office. While I sat there, Uncle Biyi told him about me and how I was interested in writing.
He called a certain James Silas (Jarmzone) from the office closest to him and introduced me to him. We left the office and Jarmoe aka Jarmzone told me to write an article and two reviews then send it to him.
After Uncle Biyi was done, we left the building. I was pumped. This was my shot finally. I had been writing a few articles here and there. I once sent my review of ‘Pentium IX’ to Modenine on Facebook. I was ready.
The article I wrote was titled ‘We Are The Ones We Have Been Waiting For’. I swear I have the hard copy somewhere. It chronicled how the music industry collapsed in the 90s and resurrected with the rise of contemporary music from the late 90s.
I reviewed Naeto C and Rooftop MCs albums. When I was done I went back to the office and submitted it to Jarmo. Then I waited.
I think a few days later Jarmzone called me saying that Ayo Animashaun wanted to see me now. I left Zmirage which was at Idi-Oroko Bus Stop near Maryland on a bike straight to Allen Avenue. Sigh…the good old Lagos days.
When I got to the office, I was ushered in to see Ayo Animashaun.
I remember the first question he asked me “young man did you write this story?”
Apparently HHWM had numerous encounters with people who claimed they could write, then submit articles written by another person but when it was time to work in the office they couldn’t write jack.
I told him I was the one that wrote it. He, James, and Bunmi Amosu who was the Deputy Editor at the time shot me a few questions concerning music.
I guess they were satisfied with my answers. Ayo then asked me if I would love to write for HHWM.
Here we go with that question again. Why does everyone keep asking me that? Of course, you know my answer.
I said yes. Meanwhile, I hadn’t finished service with Zmirage. The way I handled it was I told the guys at HHWM that I had to finish my service at Zmirage before I joined them fully.
Meanwhile, I would be working part-time capacity for the magazine. They were cool with it and that’s how I became a Hip Hop World Magazine writer.
I was part-time for like four months and never collected a dime ‘cos I was living my dream. What was money at that time?
When I was done with service, I joined the squad, and boy oh boy, I have more than a story to tell.
Moral of the story - do not leave office before closing time.
Music Recommendations 🎧
Razor EP by Cheque - Everyone is in on the gold rush to get the next big Afrobeats act. Phyno is not left out of the hunt. His new act Cheque released his new EP and it might be early days but the boy sounds good. He is already grabbing enough attention online. You can give it a spin.
X EP by Jane Chuks - This is EP is on a chilled vibe. The first line on the first track of this EP nearly knocked me out. Jane Chuks has been around for a minute and her new body of work shows how she is constantly pushing the envelope.
Essential Read 📖
Michael Jordan - A History of Flight by Wright Thompson
Before I Go
For those who listened to Loose Talk podcast, you will know Jess Jess Finesse. Now, my home girl and former co-host is out with The Flexlist Fine-Tune.
The Flexlist Fine-Tune is a service for indie artists, managers or labels created by Jess Jess Finesse.
Now you have the chance to audit your single before it is released.
What you get is unbiased feedback on your next potential single by a music curator.
Hopefully, with this thoughtful insight & critique, you can fine tune your track and make it better for mass consumption.
I remember when she told me about how Darkoo’s ‘Gangsta’ record should have been released in the summer and not the end of the year.
I hadn’t listened to the song then but when I did, I agreed that this was better as a summer smash. So, yeah she has the ears for good music and know what’s missing on a track.
If you are interested in this service, reach out to Jess Jess Finesse via social media @jessjessjessfinesse or visit theflexlist.com.
Digital Candy
Entanglement prayer point!