THEWILL DOWNTOWN December 11, 2022 EDITION

Bright

Okpocha

Monster of All Trades

When Bright Okpocha, AKA Basketmouth, finally confirmed a date for this exclusive interview, I knew it would be a fun one; what I didn’t expect was to see a side of him not many people have.

Beneath the character we see on stage and our screens is a man blessed with a rare gift from God— foresight. So strong is this gift that it has guided him throughout his career, prompting him every step of the way. He knows when to start a project and when to move on to the next. An example of the many promptings he gets is with the deep in requests for comedians. According to him, he saw it coming and alerted his friends. True to his premonition, which he admits came from God, we now have Skit makers on the rise. However, he believes comedy will come back, as there is a time and season for everything, and right now, just like in the past when actors and singers lobbied to perform at comedy shows; skit makers are having their turn. But will skit makers take the place of comedians and stand–up comedy? Basketmouth does not believe they will. “Skit makers cannot replace comedians; it’s impossible. I say this with all due respect to every talent out there. They are not stand-up comedians, and most can hardly host a show professionally. So the fact that comedy is not bubbling like it used to doesn’t mean it is dead...”

As for why he doesn’t have a show on movie streaming platforms? He explains why he turned down an offer to have his show on one of the leading movie streaming platforms in the world.

When it comes to producing shows, Bright Okpocha also has a wealth of experience, beginning from his days at the University of Benin when he used to rap. He has so perfected the art of producing shows that he refers to himself as a ‘monster.’

With shows like Asa’s concert on his resume and, in a week, Adekunle Gold’s, he truly is a ‘monster’ of all trades.

Until next week, enjoy your read.

OGANNAH

Editor-at-Large: Chalya Shagaya

Writer: Kehindé Fagbule

Graphic Design: Olaniyan John ‘Blake’

Digital Media: Oladimeji Balogun

Guest Art Director: Sunny Hughes ‘ SunZA’

Dorcas Akintoye

Dorcas Akintoye is a dedicated writer with more than 2 years prolific experience in writing articles ranging from food, entertainment, fashion and beauty.  She has a National Diploma in Mass Communication from Kwara State Polytechnic, Ilorin. She loves writing, listening to music and playing scrabble. She is a highly-skilled, enthusiastic, selfmotivated professional writer.

Valerie Lawson

Nigerian born, Valerie Lawson is a 20-year Oil & Gas Industry veteran, currently a Products & Technology Leader with Baker Hughes an Energy Technology Company, headquartered in Houston, Texas.

In 2002, she began her career in the United Kingdom as a Process Engineer in the Engineering Procurement & Construction segment of the Oil & Gas Industry. She has since worked with such companies as TechnipFMC, KBR and Worley Parsons. She also spent over four years with TOTAL E&P playing a pivotal role within its largest Deep-Water Field Development project.

Valerie has a Chemical Engineering (BEng) Degree from the University of Bradford, U.K, a MSc. From University College London (UCL) & London Business School (LBS) and expecting a Global Executive MBA from IESE Business School, Spain.

She’s passionate about, health, knowledge, cycling and traveling –and has lived, worked, and conducted business in over 15 countries across several continents.

She currently lives in Houston, Texas, USA.

How To Successfully Pull Off The

MONOCHROME LOOK

BY DORCAS AKINTOYE

Monochrome fashion has been around for some time now, and from the look of things, it isn't going anywhere. It doesn't matter whether you've been a monochrome sceptic or even ready to embrace a singularly focused colour palette; there are so many ways you can pull off the monochrome trend this season.

You look more put together without putting in too much effort when your outfit is all in one colour. Opting for neutral colours is one of the easy ways to rock the monochrome trend. Going for colours like grey, tan, or black will give you a coordinated look without being too bold. You can make a statement when you know the right colour to work with.

(1) MIX TEXTURES IN YOUR MONOCHROME OUTFIT

Remember to mix textures within your monochromatic outfit. Adding depth, visual interest and dimension to your look isn’t onedimensional or boring. There are so many texture combinations you can try pairing together. They include denim and chiffon, suede and silk, and leather and cotton. Regarding texture, you must consider your shoes and boots; they play a vital role in making your outfit more interesting.

(2) ENDEAVOUR TO ACHIEVE BALANCE

When combining pieces, always try to achieve balance. In achieving balance, you need to play with proportion. It’s a basic rule for every outfit, not just monochromatic ones.

Pink Suit ATAFO

Mimi Onalaja

(4) GO FOR THE RIGHT MONOCHROMATIC COLOURS

You must pick a colour that looks great on your skin tone and hair. For instance, if you have tanned or dark skin, you can wear a deeper colour like burgundy or eggplant. If you are new to the monochromatic look and are unsure of what colour to choose, you can start with dark neutrals like grey, brown, navy and black. If you want something bold, you can try darker, richer monochromatic colours like hunter green.

(3) ACCENTUATE THE RIGHT AREAS

You can do this by choosing the right colour. If you are wearing the same colour in different shades and tints, you need to pay attention to how dark or light each piece is. To accentuate your waist in monochrome colours, you can use a belt. A belt should be your goto when adding some definition or structure to your outfit.

COLOUR

TIP

Knowing the right colours to pull off your monochromatic outfit is the number one rule to stay chic in this style. We have listed a few to help you start. To make your monochrome moment pop, ensure the main elements of your outfit are a close match. If you are going for a light blue skirt, ensure that your top is the same shade of light blue. Your accessories don’t need to be light blue; they can be different shades of blue but have it at the back of your mind that matching core pieces will make your outfit work.

(1) NAVY

Your monochromatic outfit doesn’t need to be black; you can try navy as a fashionable alternative. Navy has all the slimming qualities of black, although it doesn’t look as serious. Your navy pieces don't need to be the same shade; you can combine shades of the midnight hue to add depth and definition to your outfit.

(2) KHAKI

It doesn’t matter whether you are dark or light skinned; anyone can rock pale khaki as a monochromatic outfit. You can achieve these by mixing tops and bottoms with looser fits and details, which include pleats or buttons to add spice and fun to what could have been a boring look.

(3) WHITE

(5) INCORPORATE PATTERNS OR PRINTS

Your monochrome outfit doesn’t just need to be a combination of plain pieces. You can spice things up by incorporating patterns or prints, although finding the perfect pattern or print that matches your colour scheme will take a lot of work.

To break up the whole block of colour, you can add a print piece with the same colour you are working with, or better still, you can try adding a patterned shawl or scarf.

Our list of colours for monochromatic outfits would be incomplete without adding white. White outfits are well put together with a posh, expensive finish.

You can pair your white look according to your taste, accessorising with a hat, jewellery and sweaters for a much-finished look.

(4) BURGUNDY

Burgundy is a very rich and sexy colour that looks excellent on almost every skin tone.

Ebuka Uchendu

ART AND CULTURE

U.S. MISSION TO TRAIN CURATORS ON PRESERVATION OF NIGERIA’S WOODEN ARTEFACTS

It is no secret that preserving art and our culture comes at not such a small cost, and keeping our artefacts to preserve culture is undoubtedly essential.

As I walked through the National Museum Lagos, I took in every object displayed, some I had heard of, many I hadn’t. It was eye-opening and almost frightening that I had barely seen or known much about certain aspects of our culture, even in my mid-forties.

Many didn’t have precise information about the objects I was looking at, including several beautifully carved staves, leather stools and some drums from different regions in Nigeria. While admiring the various artefacts, one thing was certain; they needed to be better documented.

Many of you would agree that we lack the culture of documentation as a nation. And so it was interesting to see that the U.S. Mission in

Nigeria announced the launch of the 2022 Ambassador’s Fund for Cultural Preservation (AFCP) project to train Nigerian museum professionals in wood conservation, documentation, and storage.

This gladdened my heart, and why not? Before anyone raises the colonial mentality flag, we know that foreign countries do a great job of preserving and documenting, so professional help is always welcome. And for the National Museum Lagos, it has come in the form of the AFCP grant awarded to The Yale University Art to implement the project: “Sustaining a Partnership in Wood Conservation between the National Museum, Lagos and the Yale University Art Gallery.”

What this means is that generations to come, and even the young ones now, will have some knowledge about our history with this project to train Nigerian museum professionals in preserving and

documenting. A simple ceremony to celebrate an MOU signing at the museum in Onikan hosted museum curators and art gallery managers where the U.S. Consul General Will Stevens emphasised the longstanding commitment of the United States government to partner with Nigeria to preserve its rich history and culture.

grant will support workshops in wood conservation and breakthroughs in sustainable conservation practices that are mutually beneficial for the National Commission for Museum and Monuments and the Yale University Art Gallery.” Stephanie Wiles

What’s very exciting is with the AFCP project worth $114,000, the Yale University Art Gallery will conduct training workshops on wood conservation for National Museum Lagos conservators, helping them preserve Nigerian historic artefacts through advanced storage, documentation, and treatment techniques.

The Director General National Commission for Museums and Monuments, Professor Abba Issa Tijani, described the impact of AFCP projects across Nigerian museums as yielding significant results in capacity building, documentation and digitisation of our rich cultural heritage.

“We hope that the partnerships initiated through this project will continue far into the future and serve as a lasting example of the partnership between the United States and Nigeria to protect Nigeria’s cultural heritage.” U.S. Consul General Will Stevens

Stephanie Wiles, Director of the Yale University Art Gallery, expressed appreciation to the U.S. Mission for the generous grant that supports the university’s ongoing collaboration with Nigeria’s National Commission for Museum and Monuments.

Working in collaboration with the National Commission for Museum and Monuments, the AFCP project will take place at the Yale University Art Gallery in New Haven, Connecticut and the National Museum in Lagos.

In addition, the AFCP project will focus on the National Museum of Lagos’ late 19th and 20th-century Yorùbá wood objects and is being done in preparation for the upcoming exhibition, Bámigbóyè; A Master Sculptor of the Yorùbá Tradition.

I’m looking forward to revisiting the museum soon, and this time, to really absorb and know more about the beauty of our historical culture. Perhaps I could learn a little more about the stories behind those carvings of drums, mirrors and many other artefacts from wood.

“This

“The U.S. Ambassadors Fund for Cultural Preservation has been yielding great results in terms of capacity building, documentation and digitisation of our rich cultural heritage. We look forward to many more productive partnerships with the U.S. government.” Professor Abba Issa Tijani

DOWNTOWN CONFIDENTIAL

Sickling Romance

BY DORCAS AKINTOYE

I’ve always heard that a kiss could literally have a girl's head spin around, and I thought it was just a figure of speech until Sam pulled me into his arms and pressed his lips to mine.

Every single cliché I’d heard from friends about fireworks, sparks, and angels singing hymns became a reality, and there was nothing silly about it. It was lust in its pure glory at a level I have never felt before.

Sam was a great kisser; you could tell that he had had a lot of practice. He had the perfect tongue movements to hit every right button and stir all the right nerves.

My heart sang with the feel of his mouth, the strength of his chest against my breast and the scent of sweat. Our tongues danced, and our moans hummed in a silky pleasure rhythm; all I wanted was for it to go on.

Sam had never kissed me with so much passion; it was packed with so much sensation. Maybe it was because we both knew our relationship was on the verge of collapsing. He clasped my hips and pulled me against him, the firm bulge between his legs making an offer I ached to accept. He started to grind against me, driving the kiss deeper and spilling life through me simultaneously. It left me happy and senseless, and I became so powerless to do anything but sink in and enjoy the ride.

He moved his mouth down my neck, nibbling to my ear where he whispered, “Let’s Get Married”. That little break helped put my senses back together. I knew we were doing the wrong thing, and the aftermath could be dangerous.

“You know that’s not possible”, I said, taking in air as I pressed my palm to his chest and nudged away. Still dizzy, I wiped the wetness from my lips and straightened my dress, backing up a couple more steps to put some distance between us.

“What do you mean; are you really going to allow the years we spent building this relationship to go down the drain because of some doctor’s report?” he snarled.

“My mind is made up, and I think that’s the best thing for both of us”, I replied.

“Did I hear you say “best thing”, you are an ingrate”, he said. I walked out of the room in anger. Alone in my apartment, I cried uncontrolably, unsure what the right word to say to him was to make him understand my point. I was upset; for the first time, he called me an ingrate, welding the word like a knife, and it came out of his mouth sharp with loathing. Sam and I met for the first time on a transit flight; we connected so well and discussed many things but

didn’t share our names or contact details. Months later, we met again at a friend's party, and he was unchanged except for his black-framed glasses. He was tall and easy-limbed, just as I remembered him on the flight.

We got talking again, and that was it. It was as if our first meeting months ago let us bypass several steps, ignore several unknowns and slide into an immediate intimacy. Apart from that, the way he dressed made him seem superficial to me, yet I was curious about how he would be naked in bed with me. The sex was good the first time; I was on top of him, gliding and moaning, grasping his chest and feeling faintly and glamorously theatrical as I did so.

Sam was everything I wanted in a man; he was handsome, wealthy and all in all. He was someone who cared and stayed by my side no matter what. Sam was ready to go through everything without giving up on me. He was too sinewy with goodness. He detested infidelity, and he stayed away from it; never stealing a glance at a pretty woman on the street because he had everything he wanted in me.

We wore our love like a heavy perfume, exuding transparent commitment now and then. For years, I had imagined us having a house in a quiet street, batiks hung on the walls, creative sculptures glowering in corners and both of us living in a steady hymn of happiness.

Eventually, my dreams were fulfilled when he proposed to me, and we were busy with our wedding preparation when suddenly all our plans came crumbling. We had to go to the hospital due to requirements by the church, and that was when we found out we had a problem.

That night, there was an unusual silence between us. It turned out that Sam and I share the same genotype — AS. We knew what the test result meant, and the doctor made it clear to us that getting married was a risk to our unborn children, yet we were both confused about what to do.

My relationship with Sam was what I wanted, a crested wave in my life and I would have done anything to make us stay together, but the situation we were in wasn’t something I could handle. Even if we went against the doctor’s advice and got married, the aftermath would be terrible for our children. They'd never forgive us for bringing them into the world, knowing they might suffer from sickle cell anaemia.

Sam and I both took an axe and hacked into our beautiful relationship due to our negligence. We both sacrificed a lot of things to make our relationship work, including a dream job in Sweden so that I could stay in Nigeria with him. And just like that, in Sam’s words, seven years have gone down the drain.’

Bright “Basketmouth” Okpocha Monster of

All Trades

Transitioning within the entertainment industry, although reported as clearcut as possible, is a challenging thing to do. Each of these art forms we casually consume is different stakeholders actively living their dreams, one that they have nursed for practically their whole lives. With Bright Okpocha, widely known as Basketmouth, every dream is worth attending to. This is why he took a break from music to establish himself as the biggest name in Nigerian comedy, thanks to years of consistently cracking people up. Twenty-four years later, Bright is not just back to making music; he

is doing it at the highest possible level—production. In almost three decades of marinating himself in the deep fruitful waters of Nigerian entertainment, Bright has gone on to not only tell jokes but rap, act, produce and direct some of the country's biggest films, TV series, and concert events. All of these culminate in a career so multifaceted one cannot predict what his next creative move might be. DOWNTOWN's Editor, Onah Nwachukwu, sat with the multi-talented artist to chronicle his journey from forming a rap crew that went by the name ‘Da Oddz’ in the late 90s to touring the world with comedy and deferring an invite to produce his own Netflix Standup.

You were a part of a music group years ago. How did you make the transition to comedy?

Even as we made music, almost everybody— my childhood friends—in that group was funny, but I didn’t realise that being funny was a talent. I thought that people should be funny because everyone around me at the time was funny, most of them even funnier than I was. So when we formed the group, comedy was still a part of it because when we were rapping, I was still trying to make people laugh. We always take breaks to crack jokes. But the music never got launched in the true sense of it because, at the time, although we were doing shows and university tours, we were an up-andcoming rap crew, so we never really got into the music scene until I broke into comedy, of which, it took me another 24 years to go back and do it. Even today, one of the guys, Dominic—his rap name is Item 7—is based in Austria, making his music as an aside to his nine-to-five. My brother is doing something similar as well, non-commercial music for now. As for me, my nine-to-five is comedy and TV, and I still make music because it is just my thing.

Would you say coming back to music was always the plan or something that just aligned?

It was part of the plan. When we started rapping, the music industry in Nigeria wasn't commercial. Also, there was a disconnect because we were influenced by The Wutang Clan and other foreign rappers but no Nigerian rappers. This was when the only people doing rap in Nigeria were Junior and Pretty, who were underground artists. At the time, I said to myself, ‘Bright, this is not going to go anywhere.’ That was based on foresight which I think is something God blessed me with. So I decided to focus on comedy, knowing I would someday return to music. At the time, the music I wanted to create was different from the kind that trends. The first album, Yabasi, was an experimental work. I love that I completed that journey because I had decided to blend Igbo highlife and hiphop like 25 years ago, and I’m happy I waited 25 years and still did it, and it worked. So it was like a dream come true.

In addition to comedy, TV and music, you are also into event production. How would you say you tally all three?

TV requires music on a large scale. I jumped into music because I was making Papa Benji, and the show needed a lot of music, and I wanted to avoid going to get music from people. So I saw it as the perfect opportunity to create my own music, bearing that I had just met a brilliant producer, Duktor Sett. Blending film and music is easy for me because they complement each other. The only thing that is difficult in making music is the promotional aspect of it. But blending TV and stand-up is very difficult because, with TV, you shoot almost every day. On Flatmates, we produced about 260 episodes a year. That involved shooting every work day of the week.

My brother and I joined a ‘performing students’ organisation in school as a rap crew. Because most of us had left the country, we decided to call ourselves ‘Da Oddz.’ For our first show has Da Oddz, I was in Ekenwa campus in Uniben(University of Benin). The show was called 300 Men Groove, and the MC/comedian was doing a terrible job, and

the crowd was upset. I told Dotun, who is still my manager, “I can do this thing better.”

He spoke to the show promoter, who had doubts as I was billed to perform as a rapper. But he didn't have anything to lose as the audience was increasingly annoyed by the MC. So he gave me five minutes, and I ended up doing 45 minutes. I did so well telling the silly little jokes that the audience kept hitting their desks in excitement. It felt really good. The next day as my friends and I got to a restaurant to eat, people kept walking up to me saying, “Bright, you killed it last night,” because we had an outstanding performance as a rap crew, and I entertained the crowd as a comedian. I even had someone pay for my food, which felt so good because I didn’t have enough money to feed myself then. So I was like, ‘if this is the way to eat, then I'm going to do all the gigs.’ And that was how it started.

How did you break into comedy shows outside school?

One time, one of my friends at Delta State University, Abraka, told me about a show happening in my school, Uniben, with Alibaba performing. So he came to Uniben to watch the show and bought a ticket for me, it cost 50(Fifty) naira at the time. I sat there and watched Alibaba perform for the first time because I hadn't seen a Nigerian comedian; I didn’t know how they did it. At the end of the show, while everyone was laughing, I was having a general meeting in my head. I wanted to meet him but couldn’t get through to him. I heard that the show was annual, so I knew I needed to work

myself up to the point where I could open for him the next time he came. I started doing all the gigs available in school. I would work my way into any faculty doing their end-of-the-year party to perform there. I was getting paid for a few of the shows, but I didn’t really care about the money. Eventually, word went around, and I got called to perform at the next Alibaba show. I was satisfied.

When it was time for the gig, they put me first because I’m young and new, so I begged them to move my performance towards the end of the up-and-coming acts.

Alibaba hadn’t come, and if I had performed earlier like I was scheduled to, Alibaba wouldn’t watch my performance. So I tried my best to avoid being called. I hid and told people to beg the show’s producer for me. He eventually agreed, and I performed my set when Alibaba was in the audience. After my performance, he, alongside everybody else in the hall, gave me a standing ovation. That was how comedy started because he gave me his card and told me to look for him whenever I came to Lagos. I didn’t even wait [laughs].

You've been doing a lot more concerts and events these days. Is that something you are going to continue with?

Yes. With concerts, I have been producing shows for a while. Most things started in Uniben. We weren’t getting a lot of shows in school back then, and I had access to the likes of the Remedies and Plantashun Boiz based on the fact that I was a rapper— we used to hang around then, Tuface knew me as a rapper, I opened for the Plantashun Boiz even before Faze joined them. So I said, ‘I know these guys; why don’t I bring them to school?’ So I brought together four guys and told them about my plan to bring the Plantashun Boiz to school and the cost implications. I told them the show was on a 150,000 (one hundred and fifty thousand) naira budget, so I asked them for 30,000 (thirty thousand) naira each, and they trusted me based on the entertainment I’d been doing at the time. They all paid their quota, adding up to 120,000 (one hundred and twenty thousand) naira, which was the exact amount I needed (laughs). I didn’t have 30,000 (thirty thousand) naira. How? When I was receiving N300 (three hundred) naira per gig (laughs). Yeah, now my friends know the truth](laughs). I then got Tuface at a discounted rate because, typically, the show would have cost me about 200,000 (two hundred thousand) naira. (Oh my God, I'm too smart [laughs].)

Of course, the show sold out; it was Plantashun Boiz live in Uniben. After that show, I spoke to

my friend, Bayo Adekeye. His father was a senator, so he had some connections. At the time, Bayo had a company called Baron's World Corporation. I liked the name and asked if I could open a company and call it Baron's World Entertainment. He liked the idea and said we should do it. We needed to be more creative, seeing that we were now a company, even though we hadn't registered it at the time. We did a gig called Laugh and Jams and had Alibaba perform. So I went to Alibaba’s office and told him, “boss, I’m doing a gig and would like you to perform.” And he did it for me for free. All he asked of me was to come to Lagos so that we could drive to my school together, so we drove down in his car, and he checked himself into a hotel on arrival. After that, we had a show called Splash cancelled because of a riot in school. It was supposed to be a pool party with DJ Jimmy Jatt. So I took Laugh and Jams to Ekpoma and began to feel like a show promoter. I came to Lagos and figured I had to step things up, so I registered the company. I also brought Laugh and Jams to Lagos, and we did it for two years. In two years, I had done about 24 shows. If you are talking about experience, that is experience. I made many mistakes with sound, lighting, gating, and other things. I was learning on the job and became a ‘monster.’

Asa's concert was phenomenal. How did you manage to pull it off?

When I decided to do the Asa concert, there was no budget; I didn’t have a dime. I just said I would do it. Ropo—the person who got me the gig) told me how much it would cost, and I said yes, I would do it. I just pulled out 1.5 million (one million, five hundred thousand) naira, made arrangements for the press conference and called Asa. Then I told her management that I could only pay her after the show or at least a day before. That was the only money I dropped throughout because Asa is an easy sell, she’s a great performer, and I think I’m one of the best producers in Nigeria. So the moment we announced the show, tickets started selling, and we used the ticket money to sort several things until sponsors came along.

We are in party season; apart from Adekunle Gold, are you planning for any other shows for this year? No. (pauses for a few seconds) But I’m trying to do something with a guy called Ogranya. He’s new. I love his music and think he will be a great performer. He opened for Asa. I'm interested in his work; that’s the reason why I put him on. So I’m thinking of doing something with him this Christmas, it’s not going to be too loud. Promoting shows gives me joy. The Asa concert hit differently, as it was my first music concert. I joined the crowd and sat down there when she got on stage. That was the first time I watched my show;

the place of the

I usually don’t from

“I stay away from the madness in the industry. It is hard for you to see me playing around that space. With all due respect, I am not part of the industry; I am an industry. I play only in my own space. I make music, movies, and events. I am enough for myself…”

audience, I watch it from backstage, but this time I was like, let me enjoy this show. I could see how excited the audience was, and I was proud to have been a part of what they were experiencing. That is my joy. Money has never given me satisfaction.

How did My Flatmates and the rest of your TV projects start?

The first house I rented in Lagos was in Iponri estate. At the time, I was the only person who had broken into the entertainment scene in Lagos, while some remained in Benin or other parts of the country. So I told them they could stay at mine if they had no place to stay in Lagos. Most of the comedians we celebrate today stayed in that flat. Sometimes we get to about 15 of us in a three-bedroom apartment. Because I like to be in the same space as whomever I’m creating with, Kayode Peters came to my flat, and we were chilling together at the dining table one day when the idea popped up in my head. I said, ‘let’s do it and call it My Flatmates’. My friend Nnamdi had a cool apartment at the time, which we used. The show ran for about two years; I couldn’t manage it. That wasn’t the time because I was still trying to muscle through comedy.

From acting those series: My Flatmates, Ghana Jollof, Papa Benji, up to an action movie, Brotherhood. How did you rehearse for the character?

When Jade told me about my character, I asked her if there was a character bible; she said, “no, we want you to create what you are comfortable with, but this is the design.”

I agreed and started thinking of different ideas; initially, I wanted the character always to have a knife, but I let that go. Normally, I am a gangster— in my former life [laughs], so I was like, play your authentic self in the movie.

When she said action, I did what the director wanted me to do, and after that, I asked if I could do it again, but I would like to do it this way if you don’t mind. I did, and they loved it, and that’s the end product you see in the movie. To hold onto that character, I had to be angry every time I got on set, which was easy. Think about the current failures and all the difficulties in this county, and you get angry.

So let's go back to comedy. One thing that has changed is how comedy is done in Nigeria. So there is standup comedy, and there are skit makers. Did you ever envision that the web play disparity would exist between stand-up comedy and skit makers?

Yeah, actually. As I said, I have foresight. So about seven years ago, I told my guys comedy was about to die. When I said that, I didn’t know how it would happen or what would trigger it, but I knew we would experience changes. At the time, I thought that it would be because of the massive inflow of comedians in the industry because we started having some crazy guys coming in to replicate someone else’s material and charge cheap rates. So it made the new comedians lazy. Comedy is about originality, but many people weren’t original anymore, clients were getting tired of hearing the same joke repeatedly, and many people replicating what we had done. At that point, I was like, this is not going anywhere. Then the next thing, skit makers started coming up, and the pandemic came. I think I was the first person that started the whole skit thing. I want to believe myself, and Bovi started making skits about 12 or 13 years ago to promote my London shows. Eventually, people began using skits for content, which is now a thing.

Have skit makers replaced comedians? Skit makers cannot replace comedians; it’s impossible. I say this with all due respect to every talent out there. They are not stand-up comedians, and most can hardly host a show professionally. So the fact that comedy is not bubbling like it used to doesn't mean it is dead.

At a time, musicians used to lobby to perform at shows produced by comedians. Even actors used to lobby to host comedy shows. I know this for a fact.

Kevin Harts and co have their shows on youtube and digital streaming platforms. Will we get there? Why are we not doing that in Nigeria?

Eventually, we will get there. The difference between Nigeria and elsewhere is that we do not have comedy clubs in Nigeria. Every state in America has at least four to five comedy clubs where comedians can walk in and say I want to do a 15-minute set, and that's how they rehearse their

material. Here in Nigeria, there is no stage where you can go and try your new materials. You can only try it on that stage on the day of the event or maybe among some of your friends, but there is no avenue for you to test your jokes, so it is a risk. We do not have writers, agents, or promoters, so a comedian does everything himself; writes jokes, edits, promotes the shows and looks for sponsors. The pressure of being a comedian is really heavy. There was a time when Chris Rock wanted to go back to doing tours; he started by playing at comedy clubs in different states. Now we don’t have the opportunity to be on streaming platforms except YouTube, and we know the returns.

I’m flying out to South Africa in March for the National Comedy Festival; we don’t have those in Nigeria. Despite having about 220 million people, Nigeria only has one comedy club. The country is not designed right now to support stand-up comedy. A musician can make music right now and make money from a record label, streaming, show and all, but comedians can only make money from gigs they are getting paid. This is one of the reasons I told myself, ‘Bright, you cannot be just a comedian anymore; you have to diversify and spread yourself everywhere possible.

As you mentioned, with the development of comedy in South Africa, we've seen South African comedians with Netflix specials. Why aren't you on Netflix?

I have been offered a special on Netflix; I told them I needed more time. So when they called me, and we had a zoom meeting, they said they wanted to see my set, what I was working with, I was like, ‘guys, I’m not writing right now. I am not ready.’ I could have come up with something for them, but if I am going to do my special on Netflix or any other streaming platform, it has to be an art, a massive piece, the best from anything anybody has done. I have been in the game for 24 years, so my special shouldn’t be easy. It was after I did my show in London that I knew I was ready. Because there was

a

COVER“Comedy is about originality, but many people weren't original anymore, clients were getting tired of hearing the same joke repeatedly, and many people replicating what we had done. At that point, I was like, this is not going anywhere. Then the next thing, skit makers started coming up, and the pandemic came... I want to believe myself, and Bovi started making skits about 12 or 13 years ago to promote my London shows. Eventually, people began using skits for content, which is now a thing.”

time I actually lost interest in comedy, I picked interest in movies, TV, and music. Because I have been doing it for so long and have reached the point in my career where I can’t go beyond in this country, I decided to start touring with Russel Peters. It was a great experience. Imagine performing in front of 20 thousand people. That was when I began enjoying comedy again. I realised that I needed to be challenged more. Doing corporate gigs and weddings isn’t my thing; I am a stand-up comedian. So I decided not to do anything on this platform (stand-up comedy) except I was ready.

How did you prepare for the London shows?

I had written the set for the London show for a whole year. I was writing and trying them out at Live Lounge, a comedy club in Lagos. Two days before my show, I was chilling with Buchi and my manager, Dotun, and I decided to change my set for the show. So you can imagine writing a one-hour show in 48 hours—more like 24 hours because you have to perfect it on the day of the show. I did it, and I killed it. I loved it because the performance was just my experience from leaving my house down to get to the show. That was what I talked about. And on that show, I felt that thing I used to feel back then when I was doing comedy, the cheering because it was a challenge. The fact that I had to do it in 24 hours woke up that monster, and ever since then, I decided to go back to stand-up, so I went to Laugh Factory. Stand-up don dey sweet me again Now I’m doing a tour in the UK, we are partnering with an American promotion company, and it has given me this renewed energy. So yeah, I'm back!

Does this mean you will be doing a major show soon? I’m doing my one-man stand-up comedy show in Lagos after about four to six years, as I was not too fond of the last one in 2019. The new show was initially scheduled for the 5th of March, 2023, but Eko Hotel is booked on that date. We will announce a new date later.

There is some comparison between stand-up comedy and skit makers.

The comparison between stand-up comedy and skits is all about consumption. Skit makers mostly do slapstick comedy, and that is because people want to see exaggerated butts and whatnot. They have a lot of views on Facebook. But stand-up comedy is not always quick; you need to listen. Who wants to waste their data and listen to you go all cerebral on them? They want quick laughs. Kudos to the ones that are doing it. I won’t call them stand-up comedians, but they are really feeding the consumers what they want, and that’s why they impress me. It's good because there is a market for everybody at every point in time. There was a time that Standup comedians were the thing, but now they

are more tuned to skit makers. Now you see the skit makers hosting a couple of gigs, and I'm happy that I'm not actively in that space because of my foresight [laughs].

Which is more difficult for you; acting, comedy, music or concert production?

Concert production is the most difficult and scariest because, first of all, promoting a show is a huge risk. You may fail because you will have an empty show if you are not selling the right artist to the right audience. You will probably spend 200 million to make about 50 million. In Nigeria, they don't insure shows, so you bleed once you start promoting a show and don't have proper sponsors. The risks are too high.

Acting—third on my list— on the other hand, is fun.

It just takes a lot from me because I write my own script, produce, act it, and sometimes direct, so most times when we are shooting, I am also directing in my head. That is why I often don't like playing the front liner so that I can understand, pay attention, and correct whatever is going wrong.

The only reason I'm going with comedy as my second is because when you buy a new car, na that new car go dey shack you. Music, just like comedy, is my way of life. I don't just listen to music, I live inside it, and it controls my emotions. I'm a perfectionist, so I criticise every single facet of music. That is one of the reasons why I entered music; to create the kind of music that I can enjoy too.

Are we ever going to see you pick up the mic and rap on a song or stage?

I just want to make music, I don’t want to perform it on stage, and that's why I stayed away from Yabasi When I released Yabasi, I did not feature in any of the songs in that album. Why? Because I didn't fit into the album into any of the tracks, I didn’t want to force myself. But when I did Horoscopes, there were a few songs that, when I heard the beat, I felt I could do, which was what I did. I do not create music with someone in mind. I make music, and the music tells me who will fit into it and not the other way around.

Now, in terms of actively rapping or making music, I will be cautious because I don't

want that switch to be too quick. But I will be doing some features like there is a song that Ill Bliss is working on, he’s got Peruzzi on it, and I'm on that song as well. That might be my first major appearance on any song, so I’m going to grow into it but not too fast, slowly, so that I do not throw people off. But am I coming on stage to rap? I am still determining. I'm shy [laughs].

You were in the news with a colleague, AY, at some point. What was that about?

All I heard were distant echoes. I don’t pay attention to these things.

How have you managed to live a scandal-free life?

I don’t club, drink or do any of those things. I used to drink but not anymore. I don’t expose myself to places that are packed with temptations. Some people will say the best way to avoid temptation is to fall for it. I don't want to be that person. Secondly, I do not bring my personal life to the public; I do not discuss my personal life with any media personality or anyone. Thirdly, I don’t make friends with people I do not trust. You have to be in my circle. I’ve known most of the people around me for 24 years, so I feel protected. I’m safe. I do not believe in the industry in terms of loyalty from all of these guys. One person that I trusted with all my life was Sound Sultan. Another person I trust a lot is Tuface, and there’s also Okey Bakassi and other guys I’m also cool with. I don’t get involved in anything if it’s not my business.

I stay away from the madness in the industry. It is hard for you to see me playing around that space. With all due respect, I am not part of the industry; I am an industry. I play only in my

own space. I make music, movies, and events. I am enough for myself, so I cannot blend into the space; it will be chaos.

“I don't get involved in anything if it's not my business. I stay away from the madness in the industry. It is hard for you to see me playing around that space. With all due respect, I am not part of the industry; I am an industry. I play only in my own space.”

(1) Massage With Icecubes

We may not all be familiar with using ice cubes for massaging the face during facial sessions, but the truth is ice cubes work magically over a puffy face.

For usage, massage the affected area with the ice cubes, and you will be amazed at the result. The bloating starts to reduce immediately there is better blood circulation.

BY DORCAS AKINTOYE

We sometimes wake up with a puffy face; it may be due to a late night out, unhealthy snacks and sometimes over-sleeping. Experts have proven that the major reason for puffiness is a lack of hydration in the face. Many things cause skin dehydration which results in puffiness on the face. Dehydration causes skin puffiness when the skin senses a lack of moisture, and then it sends signals to the blood vessels to retain the water reserves it already has. Due to the excess fluid retention in the blood vessels, the skin gets puffy. Taking in substances like caffeine, alcohol, common salt, sodium and so on can cause dehydration.

No matter the reason for your face puffiness, we’ve got you covered with these six hacks to de-puff your face.

(2) Check Your Diet

Excessive intake of certain substances like alcohol, caffeine, salt and so on can cause dehydration, resulting in increased puffiness and bloating of the face.

All you have to do is check your intake of substances that can make you vulnerable to puffiness and bloating.

Chioma Ikokwu & Kika

(3) Hydrate Regularly

By keeping yourself well hydrated, you can reduce puffiness altogether. When you are hydrated, the puffiness will naturally decrease. You can drink three litres of water daily to stay hydrated. Another trick would be using hydrating products on your skin to prevent bloating and puffiness.

(5)

Slap on a Mask

You can use a mask to eliminate bloating and puffiness, but you must ensure the mask is infused with key ingredients to combat puffiness and swelling. Any mask with ingredients like magnesium, and a cooling effect, can revive the face with a more lifted and firmer appearance.

(4) Massage With Face Tools

Another method that helps to debloat your face is massaging your face with essential oils and massaging tools like face rollers or Gua Sha. Face tools help enhance the blood circulation in the face by stimulating the lymph nodes, which causes lymphatic drainage, which affects collagen production positively, leading to better blood circulation and reducing facial bloating. You can refrigerate the facial tools and use them cold on your face for a better effect.

(6) Sweat it Out

If you notice puffiness on your face, try jumping on the treadmill or elliptical and get your blood flowing. Apart from the fact that it will help in your blood circulation, it will also help open up your pore, which results in sweating out all the bad stuff in your face.

FEATURE Funmi

Victor-Okigbo is Unofficially Getting The Party Started

BY KEHINDÉ FAGBULE

You have been in the event space for a while. What are some of the most significant differences between planning events back in the day and today?

So much has changed! The world is now one giant global village, and the creative and events industry is better for it! We can benefit from what our colleagues are doing from around the world, which has inspired and will continue to inspire us. Clients also have access to many ideas and information so that they can demand more, and when they demand more, we give more. We can also show our work more efficiently, so clients can access us and our work, so yes… progress!

Run us through the daily operations at your company, Event Architect. We know it’s an event production and management agency, but what exactly do you do?

We are an event agency, and we help clients create exciting and unforgettable event experiences that engage their customers so they can meet their business objectives. Every organisation is in business to make a profit, right? So when clients call us to help produce their events, we take this as an invitation to help them create something to help increase the bottom line because, at the end of the day, that is what it’s about. So we pretty much help them tell their story using events as a platform to achieve their business objectives.

must help the client achieve their goals, or it won’t work.

The Big Birthday Bash is one of Event Architect’s offerings as well. What does that entail?

The Big Birthday Bash is a series of monthly parties created to help everyone celebrate their birthdays in style with their friends and family without the stress of planning it themselves. It’s your perfect plugand-play birthday party with the added advantage of connecting with new friends. We kicked it off in January 2020 but took a break after the February edition of the same year because of covid. We picked it up in October 2021 and have been going strong since then.

The Unofficial Christmas Party (UX Party), a focus right now as it is happening soon, was an initiative you came up with. What made you come up with this innovative idea? We are problem solvers; that’s our mindset when we engage with our clients. So when we saw this gap, we stepped right in. We saw how corporations struggled to plan their end-of-year parties, whether for highperforming teams or high-valued clients, and we thought, let’s help them make this easy. Let’s create something they can show up to while retaining the elements of a great endof-year party, and we did just that.

It is a remarkably unique niche and a unique experience, The Unofficial Christmas party. What are some of the first-hand testimonies you have gotten for this project?

Oh, I have a few! We have a long list of testimonials. From some executives telling us how they have run into and reconnected with potential or old clients, to some of our attendees saying they didn’t realise how much they had missed a good party because all they do is work. We have an exciting theme every year, allowing everyone to dress up, let their hair down and have a good time!

There has been no edition since the pandemic hit two years ago. How have you navigated the post-COVID ways of doing things and the radio silence that has followed?

Whether it is our dream job or not, we are most likely to pick our different definitions of “fun” over actual work—if it doesn’t hurt our paycheck, of course. Companies know this, and this is why in the corporate industry, there is a positive culture that rewards each stakeholder in the forms of gifting, time-offs, and of course, fun. Since 2014, legendary event planner, Funmi VictorOkigbo has galvanised this section of the corporate world. Having entered the event space 17 years ago when she started her company, Event Architect, Funmi, who has over 12 years of experience working with corporate clients across diverse industries, including information technology, entertainment, media, banking and consumer goods, speaks to DOWNTOWN’s, Kehindé Fagbule on The Unofficial Christmas Party.

Event Architect has a lot of offerings. One of them is the Event Architect Academy. How is it like teaching the younger generation about event planning when you didn’t have that opportunity early on in your journey?

The Academy is an opportunity to help not just the younger generation but people in the industry eager to achieve excellence in learning. By default, they also quickly determine whether or not this is what they want to do. Some people come into the industry thinking it’s all “fun and games” yeah, maybe sometimes it is but not all the time. There is a business side to events, and they learn that too. We keep it real with them and let them know the good, the bad and the ugly. We also teach what clients really want and how to focus on that so they don’t get distracted by their ideas. Everything they do

COVID was that break we all didn’t know we needed [laughs], we have had it, and we are all done with that. We have all grown and innovated, and everyone is finding ways to simplify everything, which is precisely what The UX Party is about. We look forward to the future and all the exciting possibilities.

There was an owambe-themed edition once. What should guests be looking forward to this year?

COLOUR! We are bringing colour after the gloom of COVID (laughs). We call this “The Colour Edition”. The dress code is monochrome, and we want people to play with colours and have fun. Besides the colour, we will, of course, have our 3-course dinner, entertainment and party with the best DJ and celebrity artiste. I can’t wait!

A NIGHT AT SOHO

BY ONAH NWACHUKWU

Soho restaurant at the Lagos Continental hotel was recently relaunched, and to mark the occasion, guests were treated to exquisite Chinese meals for dinner. Invitees arrived to a reception of cocktails, wine and Chinese starters while viewing artwork on display as part of the occasion. When the host eventually ushered them into the restaurant, the hotel manager thanked everyone for coming and reintroduced the restaurant. The first course was served in a dramatic presentation, as were the other meals, leaving guests captivated. As the evening ended, the chef made rounds at each table, asking guests about their meals.

Abiola Aloba & Yetty Ogunnubi

Nowe Isibor

Ezinne Chinkata

Tolu Ajibola

Opeyemi Famakin ( far right)

Daniel Losada Millar Cónsul

General Spain (Middle)

The Chef

Sola Oyebade

Tewa Onasanya

Kola Oshalusi & Akah Nnani

Samuel Abiola-Jacobs

Igho & Karl Hala GM Lagos Continental Hotel

Andy Yih-Ping Liu & Yolanda Chen (R)

BY BOLUWATIFE ADESINA

MOVIE REVIEW:

RICHES

to immediately regain control of the meeting and show she will not be pushed around, a characterization that never sways all season long.

RICHES is a riveting and fun binge, worthy of your attention. The series is unapologetically British and authentically Nigerian, painting its characters in nuanced colors that black people – particularly African people – are rarely allowed to thrive in. RICHES ultimately shines the brightest when it embraces all the allowances that come with the cultures it celebrates. Moments like Nina’s Ekaro greeting, the correct pronunciation of Yoruba names, and the unprovoked dragging of Ghanaian Jollof in the pilot, as well as the show’s amazing music and soundtrack, will all ring true for millions of Nigerians in diaspora who rarely – if ever – have the opportunity to see an accurate representation of themselves in Western media.

Amazon

Prime Video’s new drama, RICHES, is the latest to join the ranks of shows that explore complex dynamics and the scandalous happenings of family empires and business dynasties. The new series follows the Richards family after the death of their patriarch Stephen Richards, played by the affable Hugh Quarshie. When the self-made business mogul leaves his cosmetic empire to his children from his first marriage in his will, he sets the stage for his two families to collide, kicking off a no-holds-barred struggle for control of a business empire. Alongside Quarshie, the series stars Deborah Ayorinde, Hugh Quarshie, Sarah Niles, Emmanuel Imani, Brendan Coyle, Ola Orebiyi, Adeyinka Akinrinade, Nneka Okoye, C.J. Beckford, and Hermione Norris.

RICHES opens with Quarshie’s Stephen, in an interview, recounting his success catering to Black beauty, an oft-ignored demographic in the beauty industry. Despite revealing in his last will and testament that he made efforts to be a good husband and father, viewers are only ever shown evidence to the contrary as he is revealed to be a philanderer and a secretive man, one who instilled competition among his children. His death in the pilot, along with many of the secrets he left behind, sets the story in motion. This family drama thrives where many shows like it falter, which is in having a compelling pilot that sets up its story and establishes characters you can

root for and hate in equal measure.

RICHES also uses its opening scene to set up conversations about bias and racism, a theme that will ricochet through the season in subtle ways. The moments of racism on the show are understated and never overt because racism rarely is — well, unless encountered on social media. Microaggressions and dog whistling are the racist games played in the real world, as the series reminds us. Elsewhere, Stephen’s estranged daughter, Nina (Ayorinde), is also being celebrated for making the largest merchandising deal in her company’s history. Despite the accolades, the audience is immediately clued to the fact Nina is unsatisfied with her life. As such, when the opportunity comes for her to stay in the United Kingdom and run the cosmetics empire Stephen left to her and her brother, Simon (Imani), in his will, it comes as no surprise she chooses that over her life in the States.

Ayorinde gives a stellar performance, leading the ensemble cast: commanding every scene she’s in with a quiet presence and compelling delivery. She’s crafted a character that shines in quiet moments, delivering a nuanced performance to match the very complicated situation Nina finds herself in – having to carry on the legacy of a man who abandoned her when she was a child. Ayorinde succeeds in showcasing the character’s emotional turmoil with a steady defiance that is captivating to watch. When she introduces herself to the employees as the new boss of Flair and Glory and is interrupted by her half-brother, Orebiyi’s Gus Richards, who believed he would be CEO after his father’s death, she is able

Creator Abby Ajayi previously wrote for How To Get Away With Murder and Inventing Anna, and the family at the center of RICHES is just as engrossing as any of the Shondaland favourites, albeit with a bit more dramatic depth. (This is largely thanks to Stephen’s children reckoning with the damaging choices he made during their childhoods.) Though Nina and Simon have the most baggage as the forgotten first family, Alesha, Gus, and Wanda have their own compelling dramas going on too. While early episodes showed promise, the drama you want kicks off at the midway mark; this is where the twists and turns are served and Okoye’s Wanda is given more to do, allowing for an expansion of her character motivations, relevance to the overall story and a platform to showcase her talent. Overall, the series benefited from a tight six-episode order which allowed for every moment on screen to push its story forward in one way or the other, as sadly, the murder-mystery and embezzlement storylines would not be as interesting with a longer episode run. What’s more, the big twist of the series is unfortunately foreshadowed by the fact one of the show’s key players is underutilized and given little to do despite a ubiquitous presence on the show.

The comparisons to genre forebears like Dynasty and Succession are inevitable. However, this show stands on its own merits, infusing diverse cultures into a well-worn genre — a testament to Abby Ajayi’s leadership as series creator, executive producer, and director. Prime Video’s latest charming family drama makes the wise choice to wrap most of its biggest threads by the end of the season’s run, giving viewers answers to some of the most pressing questions. RICHES chooses to conclude its freshman season by setting up new plotlines that will make a potential Season 2 an even more compelling watch.

RICHES is now streaming on Amazon Prime Video.

8/10

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Sunni Colón - UNIVERSE 4 TWO