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Wednesday, June 15, 2016

Legendary Actor & Singer, Bob Ejike Becomes Brand Ambassador

Legendary Actor & Singer, Bob Ejike Becomes Brand Ambassador Of Lanova Soft Drinks


Huge trucks log gigantic billboards of Nollywood (Nigerian film industry) founder, Bob Ejikeme, (popularly known as Bob Ejike) advertising Lanova soft drinks, around Nigerian major cities. The choice of model and strategy were made by the management of Emerald Farms, Lekki, makers of the new beverage, in the hope that the famous middle-aged actor, singer and novelist will make his generation consume a drink that was initially designed for children.

No one would have been more appropriate than Bob Ejike, a generational cult figure who dominated TV and radio adverts in the nineties and lent his image to great consumer products like Maltex, Jumbo Maggie and a number of banks, and no one needs the visibility more than Ejike who had been away from the film industry he founded for over a decade. Since Ejike’s return from Europe, East Africa and The Middle East, he has starred in 7 movies including Zeb Ejiro’s Merciful,(whose soundtrack Ejike scored) Chico Ejiro’s Nollywood Scandals (which Ejike wrote) Chico Ejiro’s Ije Uwa (the theme music of which Ejike wrote), Beth Egenti’s Most Beautiful Girl, (theme music by Bob Ejike), Abking Abubakar’s Inikpi, Chioma Okoye’s My Angel and Frank Rajja’s The Gambler. Ejike has since directed and produced 14 music videos which are being gradually released on TV and music websites and he featured in Ferdcy’s So Fine and emceed the launch of SG’s Wado for Bigtime Entertainment.

Ejike is not new to being number one, Besides Nollywood, he was the first guest artiste on AIT Launchbreak, (now Gbedu) presented by the legendary Kenny Ogungbe, because Ejike’s song Does Your Mama Know? Was number 1 in the National Top Ten (also presented on Ray Power radio by Kenny Ogungbe and Dayo D1 Adeneye, now Youth and Culture Commissioner in Ogun State). Ejike was the first Nigerian artiste to celebrate in Italy and East Africa, and the first promoter to establish Nigerian music and movies in Uganda and vice-versa, building a cultural bridge between the two countries.
Bob Ejike, whose daughter’s recent graduation from the prestigious Laugh-borough University in England became a viral national celebration online, needs the mega fee from the Lanova add to keep his son in Cambridge University, England and his second daughter in elite college in Dubai. But more frankly, Ejike is not new to big bucks; he owns swathes of choice property in Lekki, two luxury homes in Milan and lives in Bonnington Towers, in the exclusive Jumeira reserve in Dubai. When he was in Uganda to help craft the local motion picture industry tagged Ugawood, he had two chauffeurs and two jeeps with diplomatic plate numbers, four bodyguards, two cooks and three attack dogs that guarded his six-facility recording studio by Lake Victoria, in Kampala, but the austere introverted artistic technocrat who has sold millions of music, movies and videos, will never admit that he has a dime.
If the Lanova people keep their word and run the mobile billboards for two years, Ejike will be by far the most famous artiste in the country, but the multi-talented artiste who is currently in Dubai shooting the Lanova TV advert, is unmoved by all these razzmatazz and most observers will agree with him that his endorsement was long overdue after forty years in the industry, considering the fact that the Umuahia, Abia State-born Afro-Italian artiste, was already a popular newspaper columnist and theatre director at 13.
 
In the years that followed, his efforts in poetry, radio drama and the theatre catapulted him into television drama scripting and a spectacular event took place in his life, becoming a turning point, for on NTA Sound City, as a guest, he met another guest, a budding musician called Kris Okotie, and both became friends. Okotie, who would soon become Nigeria’s biggest music star and subsequently one of the most successful televangelists in Africa, taught Ejike how to add melody to his poetry and sing properly and this was the beginning of Ejike’s music career.
Thereafter Bob Ejike rehearsed, performed and recorded with other popular artistes of that epoch like Jake Solo, Oritz Wiliki, Jide Obi, Chis Mba, Loverboy Felix Liberty, Tina Onwudiwe, Onyeka Onwenu, among others.
 
In 1980, Ejike,who had finished school in Government College, Umuahia, gained admission into University of Port Harcourt to study Theatre Arts. In Uniport he came under the influence of great literary minds like Prof. Ola Rotimi, Gabriel Okara, Elechi Amadi, I.N.C. Aniebo, Chidi Amuta, Kay Williamson, Wilfred Feuser, and performed with celebrated artistes like Daniel Wilson, Dizzy K. Falola, Sweat, Mandy Brown, Cloud 7, who helped sharpen his art.
In 1982, Ejike’s film Echoes of Wrath, starring Richard Mofe-Damijo, was released. It won the National Festival of Arts and Culture (NAFEST) and became the first known Nigerian commercial film sold in home video format, launching the unprecedented Nigerian video-film renaissance aka Nollywood, that became the third biggest film industry in the world. In the following years Bob Ejike was involved in a number of other commercial film projects that included the comedy series Okpuru Anyanwu, which ultimately opened up the Nigerian market for the home video tradition.
Bob Ejike graduated in 1985 and participated in the National Youth Service Corp as a language teacher in the Federal Government Girls College, Shagamu, in Ogun State, Nigeria. In this period he recorded and released his first music album No Vacancy, which championed the cause of the teeming unemployed. At the end of his service year he joined Ken Saro-Wiwa’s national soap opera Basi and Co as an actor and scriptwriter. He also held musical performances with the British Council, Enugu.
In 1987, he went for a musical concert in Italy and was co-opted into an Italian reggae band, Iree, and was therefore compelled to remain in Italy for their recordings and performances. He also became a scholar and English teacher at Universita Popolare of Rome. A tireless workaholic, Ejike also worked as translator for Italian publishers and newspapers, and anchored columns in several publications in which he popularized Nigerian film and artistic culture. His annual exhibition of Nigerian arts and culture in Rho, Milan, along with his numerous public lectures in various cities helped advertise Nollywood into an international brand.
In 1990, Ejike released his second album Checkin’ Out, and in collaboration with some of his academic colleagues, launched a huge media campaign to further publicize Nigerian arts and culture globally. At the height of his fame, he was chosen to officially present the Italian version of Chinua Achebe’s Anthills of the Savanna to the city of Milan, in a state ceremony.
In 1995, Bob Ejike returned to Nigeria on an educational programme of the Italian Embassy that taught Italian Language and Culture in Queens College, Lagos, and Kings College, Lagos. Ejike also worked as a columnist for The Sun and The Post Express newspapers, and presented Tropical Rhythms, an NTA (Nigerian Television Authority), Channel 5, cultural programme, while also working as an actor, author, singer and model.
He published his book Weapons of Biafra, starred in 40 Nigerian films, and produced and released several music albums and videos. His movies include Wasted Years, with Justus Esiri, Sharon Stone 2, with Genevieve Nnaji, Maximum Risks, with Regina Askia, Confusion, with Kanayo o Kanayo, Deadly Proposal, with Pete Edochie, Polygamy, with Peter Bunor snr, Tears in Heaven, with Susan Patrick, Nightfall, with Charles Okafor, Executive Crime, with Bimbo Manuel, Aba Riot, with Olu Jacob, Wanted Alive, with St. Obi, Next of Kin with Jide Kosoko, Homeless with Clarion Chukwurah and several others.
In 2002, seeking new challenges, Bob Ejike returned to the Italian academia, teaching English as a Foreign Language at Universita Popolare di Roma, a job he combined with working as a translator and International Correspondent for The Sun newspaper. In 2005, the Government of Abia State, (Bob Ejike’s place of birth) brought him back from Rome to Umuahia, honoured him and officially recognized his artistic and intellectual efforts towards the international promotion of Nigerian arts and culture.
In 2006, Ejike was invited to Uganda to work with MP General Elly Tumwine, former Culture and Tourism Minister, on the Ugawood Project, aimed at creating indigenous motion picture industry in the East African country. He spent the next five years working on the project. He also opened the Professor Bob Ejike Foundation for Performing Arts (Probe) a non-profit organization which ran audiovisual studios and marketing outfits to assist indigent artists. He used his position in that country to build a cultural bridge that facilitated the arrival in East Africa of Nigerian performers and artistic products, and vice versa, helping to make Nollywood the most popular font of home entertainment in East Africa.



In 5 years of Uganda, Ejike’s music flowered. He recorded 70 songs and 25 music videos some of which went to the Top Ten and remained popular for a long time. The ordinary people called him ‘Ki Nigeria’, meaning Nigerian film.
In the last ten years Bob Ejike has been a member of the Italian diplomatic mission in Uganda and the United Arab Emirates, but visits Lagos frequently for movie engagements. He recently released a music album entitled Infinite Youth, with a very popular video Darijimi.

 








The Ban on Phyno and Whizkid. by Charles Novia




I SUPPORT NBC'S BAN ON WHIZKID'S AND PHYNO'S SONGS...AND I RECOMMEND MORE!

A few hours ago, the Nigerian Broadcasting Corporation came out with a list of NTBB songs (Not To Be Broadcast). Though such songs have been on the airwaves for months but I guess it's better late than never. The songs are Whizkid's 'The Matter' and Phyno's 'Man of the year'
On social media, a predictable furor has been generated by the NBC's action. Fans and friends of the concerned artists have been expressing their angst over the ban with some asking what yardstick was used in placing such a ban. As amusing and sometimes annoying one finds some of those comments, which I think stem from an emotive viewpoint rather than logical, I have to pity such commentators because I believe they actually are the ones the songs have corrupted in the first place.
In Today's entertainment sector, sex is king. The more sex the music videos suggest, the better for the artistes, music video directors and even the stations. I have repeatedly screamed at various interactive music fora that these days, when watching the Nigerian television channels either on terrestrial or satellite bouquets, one cannot differentiate between the lewd music videos and soft porn! It is also alarming and befuddling that many of the musical acts getting brand endorsements here and there are nothing to write home about when it comes to the lyrical content of their songs or the moral appropraiteness of their music videos! These young turks sing blatantly about sex without giving a hoot about the most important audience of all; the children. If they don't know it, they should be told that children are quite impressionable and what goes into a child's mind visually can either distort that child's moral progression or improve on the child's human development as time goes on. But do SOME of these repressed reprobates in the music sector care? Not in the least! The more raunchy the music videos are, the better for the rascals. Just to buttress my point, have you guys seen the way most Nigerian kids dance to some of these songs at children's parties? It's all about winding their waist and even twerking much to either the amusement or amazement of their parents. Yes, thanks to these accursed music videos, we are breeding a new generation of morally bankrupt youths who just need a little prod in their subconscious minds to become the future terrors of the New Republic of Sexual Nigeria! Mark my words.
And I won't lay the blame on the artistes alone. The radio and television stations which fight over themselves to broadcast those songs and videos are as guilty in this regard. Perhaps too, the music video directors who come up with such concepts. The NBC too is as hypocritical with these bans as it is sometimes inept. I would suggest a total overhaul of their monitoring unit, if my opinion is asked. I mean, why would they wait for months after such songs must have gained heavy rotation on radio and television before they use their hammer? What kind of crass dereliction of duty is that?
The relatively new Director-General of the NBC, Mr Emeka Mba, is well known to me. He just assumed duty a few weeks ago and I believe he should make it his duty to clean up the airwaves. And please, no double standards! There are worse American and even African music videos and audio tracks ravaging our airwaves which the NBC don't know jack about! Some radio On Air Personalities take delight in playing some lewd songs with the 'F' word unbleeped at times. A few months back, I was driving in the same car with a Reverend Gentleman and we had one of those FM stations on the car radio that afternoon. Akon's song with the chorus ' I wanna f**k you...f**k you out on the floor...'assaulted our ears. On radio? I had to join the shocked Reverend Father in making the sign of the cross even though I had switched to Pentecostalism years ago! Such was the shock.
We all have witnessed how Whizkid slyly came into the scene a few years ago. I use the word 'slyly' because his first single 'Holla at your boy' was a neat teen-pop track which was family friendly and won him a huge fan base across continents. Having achieved his aim, his next couple of singles introduced the lyrical direction of his debut album. 'Tease me' was a daring post-pubescent song which extolled his plea for sexual freedom and also a blatant praise of his mojo. 'Na me be the bad guys' he crows. The accompanying video to that track was as suggestively lewd with pole-dancing girls doing some randy stuff. The clean boy image of Whizkid took a back seat and thereon his handlers and producers tried to sell him as a post-teen sex symbol.
So, it was no surprise to the discerning ones amongst us when his new singles were laced with overtly raunchy suggestivism. Let us examine the lyrics of the banned single in question; 'Back to the matter, open and close, touch your toes, oya baby..,'. Chai! May your children grow up in the ways of the Lord.
I have nothing against the hard working Whizkid, in case some puerile minds begin to think in their usual template that 'what's Novia's own?' Or 'He's just jealous of Whizkid's success' which is a usual conclusion when critiques like these meant to correct an anomaly raise some dust. I actually enjoy most of the young man's clean songs as much as I abhor his lewd ones. This is basically a call to him and others of his ilk to go inwards and re-engineer their lyrics. Better still as Gbemi Olateru Olagbegi of Beat FM tweeted, they should go the extra mile in producing clean radio edit versions of some of their songs.
Phyno is one interesting rap artiste I have been studying. He joins the league of rappers who rap in native lingo, following the footsteps of his artistic heralders, 2Shotz and Dat NIGGA Raw. Phyno understands the essence of showmanship and personal branding, what with his unique Mohawk hairstyle and his style of dressing. I don't understand Igbo very well but I have listened to the banned song 'Man of the Year' for controversial or lewd lyrics as well as his other songs. Here are some words I found;
'Okereke okereke..
My guys no abaleke...
N'ekperem ekpere
Sika m fepu ka chekeleke
Si mu kuwa k'elekera
Na ezem k'ekelebe
Ebughim otu mana m ga n'egbu ha ebelebe
...Something wey don enter don enter but if e nor gree enter, make you rub vaseline'
Please someone explain a bit to me about the meaning of some of his suggestivism in those words? I think that is why the NBC banned the song.
In any case, Phyno is one act to watch. I don't really rate him as a fantastic emcee but he's commercial and would go far...somehow.
There are some Nigeria music videos which I would personally recommend for non-broadcast and I hope the NBC takes note somehow. This recommendation is without fear or favour and I must state too that it does not in anyway detract from the amazing talents of the artistes who I give props to for raising the bar in their chosen field. However, while they are raising the bar, I and millions of concerned parents are raising our kids so please 'make una nor spoil my blues with una razz ragga'. Shikena.
Wande Coal's 'KICK' video should be banned off the national television space. Seriously, have you seen the ladies shaking their bums in that video? For the pious and piety men reading this, I would advise you not to bother checking it out. Especially if you just came out of a spititual fasting regimen like I had just done when I saw the video. Needless to say I resumed my fasting with more vigour after that. If Timaya's 'shake your bum bum' video was sexually provocative, Coal's 'Kick' video gave a double provocation with two bum-shakers.
Olamide is a great musical act who is making waves at present. We all have watched his gradual ascent for the past couple of years and he has succeeded in filling a void left open by the late Dagrin. I have my reservations about his latest video 'Durosoke' but that is not the video I'm recommending for non-broadcast. There's one he calls 'Stupid love' which I believe promotes alcoholic inebriation; which I presume to be against the broadcasting rules. In the video, Olamide in almost every cut is seen clutching a green bottle suggestively filled with either rum or brandy or some strong coloured spirits. He takes deliberate swigs from the bottle and even chants at a point in the song about feeling 'high'. This video gets massive airplay on national stations. I think it should be yanked off. Oh yes, some may argue that there's no proof that the contents in that bottle is alcohol. Balderdash! Why don't such people argue that the 'yanshes' they see in some of the music videos I mentioned above are harmless to the psyche of the children? And not only children too, come to think of it!
There are quite a few more I could recommend but why would I do the NBC's job for them? Isn't that one of their functions as a Commission?
It is high time we cleaned up the airwaves. Let those who wish to listen to lewd songs or watch raunchy music videos do so on other media. It is a sin the way we corrupt the minds of our children in the name of artistic licence
Charles Novia
 
'ANTENNA' BY FUSE ODG
A month ago, I was buying a hot meal at a restaurant when on the SOUNDCITY channel, I saw and heard this track 'Antenna' for the first time. I was taken in by the sheer energy of the video and was pleasantly surprised to see Wyclef Jean, one of my favourite acts, as a guest artiste in the remixed video. I said to myself then that the song had a catchy chorus and an unusual paced rhythm with pulsating snare drumming. I took little notice of the song nor tne artiste till a couple of days ago when I saw that the artiste, FUSE ODG, is one of the nominees for this years's MTV European Music Awards. Upon research, I discovered something very pleasant and commendable about the young man and his artistry.
Fuse ODG is a British- Ghanaian based in London. Seriously, it was this guy who single-handedly promoted the 'Azonto' dance with his single and video 'Azonto' a couple of years ago which made millions around the world latch on to the dance. He even had David Cameron in the groove too!
This new single, 'Antenna', has had over 8 million views combined on youtube since its release on June 2nd 2013. And the single climbed up the UK singles charts to the number 7 spot!
What really trips me about this guy is the aesthetics of his 'Antenna' video. His dance competition for the song alone has received close to two million views on youtube and he keeps going stronger every week.
This is a young talent who must be commended. And it is instructive to note that we did not see any rump-shaking women or lewd female sexual simulations in the video, unlike what obtains in most videos from his brothers from Nigeria. As far as being clean on lyrics and content goes, Fuse ODG is ok.
Great song. Nice melody. Hope he wins. Yes. Even over the Nigerians nominated for the MTV EMAs. This guy has impressed me and I will root for him without bias.

DRIVING LILLIAN BACH





HOW I LAUNCHED LILLIAN BACH. By Bob Ejike 

 

The Characteristic nostalgia that accompanies the arrival of summer in Europe had just
begun to take root in July 1995 when my manager, Pierino (who apart from controlling
some celebrated rock groups, ran one of the most successful modeling agencies in Milan) asked me if I could help him find a good mulatto model from Nigeria since he had exhausted his search in Italy without getting exactly what he wanted. I picked up the flight ticket with enthusiasm and within one week I was back home in Lagos. I visited all the reputable modeling agencies in town, albeit unsuccessful, most of the models here could use a gym and a strict vegetarian diet for 365 days.
Finally, I reluctantly gave up, concentrating my energy on collecting paintings and craft for the annual Gik Exhibition of Nigerian Arts and Culture in Milan. It was in
one of these fine arts depots that I found Lillian Bach – slim chocolate-complexioned
lady of astonishing beauty. From her gait, motion and charisma, I knew she was a
professional model and that I have found Perino’s treasure. Unknown to me, I was in for a surprise. Lillian Bach was not leaving Nigeria for anywhere. Fancy a model who would
not go to Milan.
Lillian Bach was born on November 9. 1970 at Island Maternity Hospital, Lagos,
to a Nigerian mother and a Polish father, Mr. Bach, who was a mechanical engineer
working for Overseas Construction Company, (presently known as Habour Work
Limited). Unfortunately he fell ill and was rushed to Holland, and that was the last thing Lillian knew about her father.
Shortly after education at Idi-Araba High School, she plunged into the world of modeling, not only she was aware of her beauty and talent, but also because she felt the
charitable need to support her mother and other members of her family. She soon became the breadwinner. With her looks, on-the-job training, natural talent and discipline, Miss Bach has been able to register her timbre on the Nigerian modeling and fashion industry as one of the few professionals who make their living almost exclusively from modeling. Although, I have known Lillian for more than eight years, I still needed to spend three weeks with her, taking her from audition to shooting location, to appreciate the pressures that models can be under. Every single day of the three weeks I had to drive Miss Bach to at least ten advertising agencies. Her basic compulsion was the love for photography. “I like taking photographs and I love what I see in the pictures. I love what I look like, you know I like to change my looks too, maybe when I’m wearing a different hairstyle and a different makeup, I would want to take a photography and see what I look
like”.
‘So you realize that you are a very beautiful lady?’ I inquire jokingly. Miss Bach
chuckles, ‘people say that I don’t know’. Her modesty is overwhelming. Besides sheer
beauty, she is photogenic, which is why the photo-modeling agencies find her irresistible.
Lillian once complained about the yardstick for beauty in Africa.
‘What is considered beautiful here in Africa is not what they count as beauty
elsewhere, maybe that’s why I don’t see myself as being beautiful because what we count as beautiful here is when you’re on the fat side. If don’t have flesh, you are not beautiful here’ pointing a finger at her skinny, ebony black mother.
They both exchange happy glances, making her effeminately furnished sitting room
somewhat warm. I suggested that since her schedule was full, it was implicit that some
people thought she was pretty enough to project their company’s products. That was
before she augmented her weight by eating all kinds of fatty foods. Another complex of reality of Nigerian modeling is that the more popular the model gets, the less jobs come her way. The opposite is the case in nations were modeling is well established.
Lillian Bola Bach has appeared in calendar for P/Z., G.M. Motors, Guinness, Soft
Touch Beauty Products, Delta Soap, Collectibles etc. she has done fashion shows for
Aroya Courtoun, a French fashion house in Paris and many magazine covers and T.V
commercials.
‘How lucrative is modeling in Nigeria?’
‘It doesn’t really pay much, they always say it is still developing in Nigeria; first of all
you can’t call yourself a model and stay at home and get a modeling job, you must be
registered with an agency then your agents beings the jobs for you and he takes 30
percent out of any job he brings for you. The way it works is like this, the manufacturing company contacts an advertising firm, the advertising firm in turn contacts the modeling agency which then contacts the models, too many fingers in the pie resulting in the model earning peanuts’.
Modeling fee is regularized by A. A. M. Nevertheless, the agencies get around the fixed charges and underpay the models. For Lillian Bach, the good thing is that she can choose her jobs, reserving the privilege of rejecting any job that does not match the heights she has attained in the industry.
‘I investigate properly before going in for a job because I wouldn’t want something that would project me negatively because of my present standard. I am known as one of the top models, I wouldn’t want to bring down the industry’. For Miss Bach whose mother is seamstress, fashion designing started as a hobby before she was trained by her elder sister who is a fashion designer: ‘I love drawing and designing, I don’t like
things that are too common, when I see a particular design, I look at it to see if I can turn it around. I like creativity that is why I opened Bacola Discoveries, which is involved not only in fashion, but also in bakery and make-up!’
After meeting Miss Bach, I sincerely felt that she was wasting her talent as a
pioneer in an UN-lucrative industry. I suggested that she went into acting, which
obviously held a better future for practitioners, but she did not know where to get started. I was aware that the movie industry was dying for white actors and actresses and this was a gap that she could fill.
Once again, I started driving her to where a friend of mine was casting for two
movies, “The Drought Promise” and “Killer Priest”, I called him, booked an appointment and brought Lillian. Those became her first films, thereafter, I took her to the Ejiro brother Zeb and Chico, members of the Ejiro film dynasty, who have controlled the Nigerian movie industry for decades and whose loyalty to my pioneering effort in the industry is indubitable, and all the other producers that cannot say no to me, and today Miss Bach is celebrated as Nigeria’s most beautiful actress with hit movies like “High Street Girls”, “Mothers Help”, “Eja Osan”. I was proud to appear with her in Zeb Ejiro’s tv soap opera, “Candlelight” from which she moved into Wale Adenuga's Superstory and an endless slew of motion pictures.  The ensuing astronomical success that fired her unto the TV screens of most families in Africa and the Diaspora is the most interesting aspect of driving Lillian Bach. 
 
BOB EJIKE