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Amid globalisation, economic downturn and hedonism, the Nigerian entertainment industry has thrived through times. Music has been an escape that has documented the phases we’ve gone through as a people. For Gen Z’s, whose first reminder of what music truly means was Eedris Abdulkareem’s ‘Jaga Jaga,’ the song unconsciously broke down the travails of the country. In the same vein, Styl-Plus, with their unrivalled pen game, broke down the concept of heartbreak, they were also the storytellers and artistes like Lagbaja and Sound Sultan gave this generation a combination of it all – woke takes, party bangers and evergreen music.
One thing that was universal to all these artistes was that their songs were a reflection of who we were as a society. Culture was important, and although women were objectified, the value system still seemed intact than it is today. Over 20 years later, we’re riddled with music that does not only objectify women but demean them. In their words, ‘It’s just music, it’s not that deep.’
But people seem to forget that in 2020, Teni was bashed and called ‘obtuse’ because she said she was a feminist. An experience, Nigerian female artistes can relate with to a great degree when they stand for something aside from creating music that people know them for. When Simi released ‘Woman’ in 2021, she was well aware she would face such backlash.
In an interview with Punch, she said, ‘I am genuinely surprised that people are receptive to the song. I had an interview a few days ago, and the interviewer asked me, “Do you hate men?” I replied that I don’t think I have ever said or done anything that insinuates that I hate men. I don’t have any reason to hate men. I simply want better things for women; I just want women to have what they deserve.”
And that’s exactly what feminism is. It’s not hating on men, it’s just women wanting to get what they deserve, to be seen as an equal member of society and not automatically be profiled as a gender who does everything for the male gaze. It’s about respecting the diversity of women and extending the same opportunities especially when they are at par with the opposite gender in knowledge and experience.
This is why it was considered misogynistic when Odumodu chose to respond to a female listener who had pointed out the obnoxiousness of his lyrics by insinuating that she was an ‘upcoming ashewo’ – a derogatory Nigerian slang for a prostitute, or sex worker.
The observation could have easily led to a different conversation if he had chosen to listen to his female listener as opposed to posing as ‘Big Kala’ – a term he refers to himself as which means ‘Manish’ – for his over 1.5 million listeners who have come to love him for his doggedness and drill characteristics which often promotes and glorifies violent lyrics and imagery.
Despite the possibility that the lyrics to this song are a reimagination of his reality: a reality that portrays his experience in the ‘streets’ and has made him attuned to using capital letters to convey his messages. EVERY ARTISTE SHOULD BE OPEN TO LISTENING! As opposed to scrolling through the tweets of someone who made an observation and weaponising an innocent statement for a male-centric audience, who are not ready to listen to contrary opinions. Listen, internalise and give an objective response, but if there is no constructive way to address an issue that affects millions of women across Nigeria, give silence.
There’s no book in which rapping, “If she no fuck, if she no suck. Who go pay for her wig and handbag?” Is not a wild thing. Like Shallipopi, who featured him in the single, which is currently in the midst of this controversy, street lingo has always been a prominent element in their music. However, there’s a difference between using street lingo and being tone-deaf, especially considering the fact that these artistes in question have millions of listeners who take their word as gospel.
The question everyone should be asking is not ‘Why is anyone trying to cancel Odumodublvck?’ First of all, Nigerians do not have the backbone to cancel anyone. If we did, Naira Marley would actually be cancelled right now. The question should be, why should a song with such lyrical content, which will possibly be played across media platforms and on the streets with vulnerable minds, be open for public consumption? Yes, censorship exists, but does censorship exist on the streaming platforms where these songs are being streamed by people of all ages?
In the May issue of the Journal of Personality and Social Psychology (Vol. 84, No. 5), they revealed that “violent song lyrics increase negative emotions and thoughts that can lead to aggression.” Misogyny is violence against women. The United Nations Office On Drugs and Crime disclosed in their 2021 report that “Globally 81,000 women and girls were killed in 2020, around 47,000 of them (58%) died at the hands of an intimate partner or a family member, which equals to a woman or girl being killed every 11 minutes in their home.”
Misogyny is not a joke, nor is it a word that should be used carelessly, but when it’s detected, it should be addressed. Why should women be subjected to such prejudice, when that particular statement can be revamped or completely removed?
We can argue that prejudice is usually based on reason or actual experience, but openly airing that prejudice considering the fact that you’ve become an opinion leader in your sphere of influence is what is wrong. You can write about women, you can choose to write about your escapades, but there should always be a limit regardless of if you’re a crude lyricist or not. The fact that people do not get this point and cannot have healthy conversations about it, is what’s wrong.
The fact that in 2023, women have to explain why they’ve decided to name their cutout (skimpy) dresses, ‘Ashewo dresses’ because society used this term derogatorily against women who love to show skin, is why there is something wrong. There are words women can call themselves and other women close to her can call her that men are not allowed to use, the fact that women have to explain that context in a world where you’re able to read this opinion from the comfort of wherever you are is why there is an issue.
The same reason why white Americans are cancelled and not allowed to refer to African Americans or even mum the N-word, while African Americans are allowed to say it however they like, is the same reason why you should watch what words you use against women.
Now, because we are talking about Odumodublvck doesn’t mean other Nigerian artistes are not guilty of this. Artistes like Kizz Daniel, Rema and the likes, are culprits, but the artiste who started this conversation is Odumodublvck. It is not personal, neither is it a witch hunt.
This is also not the time for ‘but women…’ We really do not need to hear that statement every time a conversation around misogyny happens. In the 365 days of the year, certainly, there are times when men have been treated unfairly, I’m sure we can have those conversations then. However, not at the time when the person getting ridiculed is a woman.
Regardless, I hope we can create an environment where it’s okay for women to call out things they feel are misogynistic and a place for men to listen without the need to have a ‘this you’ moment.
The post On Odumodublvck, Misogyny And Women Rights In The Music Industry appeared first on Nigerian Entertainment Today.
