Bisade ologunde biography of william hill

  • Bisade Ologunde is a Nigerian Afrobeat musician, singer, songwriter, and percussionist.
  • BISADE OLOGUNDE a.k.a.
  • Ogunde (Ogun State), Fela Anikulaopo Kuti (Ogun State), Bisade.

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    On Wednesday April 18, 2007, a few days after returning from London,  Howie T – DJ, promoter, and talent manager was on his way to Gabon. Looking tired but not worn out, he exchanged banters with his associates as they waited at the Murtala Mohammed international airport for the flight that’ll convey them to their destination. Howie, as he’s fondly called is travelling with rave pop twins Psquare for an exclusive concert in Gabon, a small west-central African country with a population of 1.4 million. ‘It’s a very big event, and I won’t be surprised if the whole country shows up’, he tells someone in a funny-serious manner. Psquare, now bestselling acts with an incredible fan base may be touring the world and recruiting fans by the day, but it’ll be difficult to forget that Howie T gave them their first break. Not just because he managed the talent hunt where they emerged winners in 2001, but, as they rightly documented in their song Timbuk

  • bisade ologunde biography of william hill

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    The History of Nigerian Jazz Music

  • 1. THE HISTORY OF JAZZ IN NIGERIA

  • 2. ORIGINS

  • 3. The earliest form of Western Music introduced into Nigeria were choral chants and hymnals introduced by Portuguese Missionaries In the 15th and 16th century. This was followed by more conventional Choral music This was then followed by classical music introduced in the mid nineteenth Century. At the same time Martial music, such as marching bands had been Introduced by Colonial Forces. The latter was to have the greatest influence Brass bands were introduced in consequence and local variations were Introduced, the most popular being the Lagos Mozart Orchestra AKA The Calabar Brass Band. These Combined Brass Band music with indigenous languages.

  • 4. THE SILENT BROWNE REVOLUTION

  • 5. • Born in Lagos in 1895, he stowed away on a ship and travelled to Poland In 1922, where he initially worked as a labourer. • He soon found his way to Poland’s vibrant entertainment scene and attached himself

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    The Musical Artist as Conscience of the Society: A Postcolonial Reading of Lagbaja's Music

    CHAPTER ONE 1.0 STUDY BACKGROUND AND CONCEPTUAL CLARIFICATION 1.1 INTRODUCTION From time primordial, the art of Africa has never assumed an ontological existence void of functionality. In essence, African art has never existed for its own sake. African art – verbal, performing or plastic – intrinsically combines elements of the ludic and the utile (Wole Ogundele, 2008: 136-154). This, bygd extension, hints on the functionality of the musical art in Africa. The Nigeria musical landscape therefore, as a case study is not void of artistes committed to the motif of music as a toll for the achievement of social consciousness. Arguably, it would be difficult to be entrenched in the exploration of music in Africa serving functional purposes without a recourse to the Afro beat Maestro, Fela Anikulapo Kuti for his wizardry in mastery of the modern musical instruments and unequalled commitment to a c