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The Creative In The Numbers Game

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Desmond Blackmore has solidified his presence in Ghana’s afrobeats scene and is one of the few musicians to turn into a successful entertainment mogul.


It’s almost impossible to attend a party or wedding in Ghana and not be treated to one of Desmond Blackmore’s ubiquitous chart-toppers.

With hits like Personal Person, Vera and Seihor a must-have on any Ghanaian DJ’s playlist, the 32-year-old rapper known by the moniker ‘D-Black’, has managed to solidify his presence as a leading emcee in Ghana’s afrobeats scene in less than a decade.

And it isn’t just about churning out party anthems and catchy lyrics. Blackmore is also a sharp businessman, who has been building his larger-than-life stage persona into a brand that now extends to a night club, live events, apparel, content production, media and advertising.

His story is the stuff of movies. His father, a businessman who made his wealth importing agriculture machinery, had 10 children with five different women. By the time Blackmore was a teenager, his father had lost most of his wealth through bad investments.

READ MORE | ‘If You Are An Artist, You Need To Be Out There As A Healer’

Blackmore, along with his mother, a civil servant, and his little sister, moved to North Kaneshie, in Accra, in search of a livelihood. With a life devoid of any comfort, Blackmore had to depend on his wit and creativity to make a living and pay his own way through school.

Cue the summer of 2007. Opportunity came knocking and Blackmore decided to take it. Aphrodisiac, a night club and advertising company Blackmore was working for as an errand boy, had shut down operations and as he was leaving the office, he received a call from Coca-Cola, looking for advertising services.

The previous owner of the business advised him to take the deal if he felt he could deliver. He decided to take the chance. He registered his own company within a week and secured his first big contract with the mammoth brand. 

“I have always been entrepreneurial at heart. I like numbers and I am a creative as well, so putting those two together was natural to me,” says Blackmore.

That deal paved the way for the then 20-year-old entrepreneur and exposed him to corporate Ghana. With the proceeds from the deal, he bought his first car and invested the rest into his music.

Blackmore’s is a story of dogged determination. He has gone from being homeless to becoming one of the most successful entertainers in Ghana. Case in point, in 2014, when Guinness Ghana Breweries Ltd (GGBL), a subsidiary of Diageo Plc. U.K., were looking for their official brand ambassador in Ghana, Blackmore was the only name on the list.

“D-Black is one of the few brands in Ghana’s music scene that embodies the Cîroc Vodka brand. The brand is championed by global megastars like P Diddy so we needed someone who matched the ethos of the lifestyle, flamboyance and entrepreneurship that the brand evokes and D-Black was the perfect celebrity partner to further enhance the luxury profile of Ciroc in Ghana,” says Nathaniel Ansong Manu, Head of the Luxury Brands portfolio at GGBL.

With a degree in fine arts and music from the University of Ghana as well as a brief stint studying economics at the University of Cape Coast, Blackmore had found the right combination of knowledge and talent to make his dreams of becoming a solo artist a reality.

READ MORE | African Music Platforms Soar As Spotify And Apple Snooze

With his cash injection from his first deal, he set out to be Ghana’s next big hip-hop artist. He decided early on in his career that he wanted his music to have international appeal and as a result, opted to rap in English, a move that was risky at a time where most of the chart toppers were singing in the local dialect.

“I met someone called Kweku T after university, who was rapping in English too. So we started recording together and we didn’t have enough money to shoot a video or anything, so we decided two pockets are better than one. We put together money and created a mixtape project and we shot three videos,” says Blackmore.

That partnership paid off. Blackmore received nominations from the prestigious Ghana Music Awards, as well as international acclaim from awards in South Africa. After a year and a half, the pair decided to go their separate ways with their individual projects. Then in 2010, he released his first solo album and embarked on a nationwide tour in Ghana.

“I won the hip-hop song of the year at the Ghana Music Awards for the first time in history as well as nominated for the BET Awards for Best African Artist. I went to Los Angeles but I didn’t win and came to New York, bought my own studio equipment, went back to Ghana, opened my own studio, then I dropped the biggest song in the country right after called Vera and the rest is history.”

Blackmore has broken boundaries in his young career as a music artist. He is one of the few musicians to transition smoothly from a successful rapper into an entertainment mogul.

He owns a record label Black Avenue Music to find fresh talent in Ghana. In 2015, he started Live Wire events, an event management company delivering corporate events, celebrity soccer matches, large concerts as well as festivals for the Ministry of Tourism in Ghana.

His early years working for Aphrodisiac gave him the experience he needed to also open his own lounge and night club, Onyx, in Ghana’s plush residential hub of Cantonments.

He also started a media and advertising company, Volcano. But Blackmore did not stop there. Spotting an opportunity in the content world, Blackmore also launched Black Avenue TV that produces movies and TV shows for some of Ghana’s biggest TV networks.

“All my companies are in the entertainment space because I wanted to provide brands with a 360-degree solution. If you want to do concerts, we have experience doing big stadium concerts or niche events, if you need a club or a lounge, you can use mine and when you need to advertise, we have a solution for that as well.”

However the hustle is not just all about making money.

“I started a record label to help those who still had not found a way to break through. It was a way of giving back to other people. So I was thinking if I spent $500 of my own money to help someone come up, it was a blessing.

“If I make my money back, great, and if I don’t, it was still a blessing. Sometimes, just providing studio time, paying for a music video to be shot by an artist who cannot afford it, will go a long way to help an artist and that is how I saw it. I have never made profit from any artist I have signed yet, it is always just about me helping them out.”

And that has been Blackmore’s greatest achievement so far, paving the way for people just like him to achieve their dreams through music.

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The Art Of Survival: The Art Of Adire Gave This Textile Artist Global Fame, She Now Educates Generations Of Women In Nigeria

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Textile artist Nike Davies-Okundaye worked as a construction laborer and carried water and firewood to survive. The art of adire gave her global fame and she is now educating generations of women in Nigeria.

There was no way Nike Davies-Okundaye could look the other way. For after all, she too had been a victim in her early teens. 

Too many women were being pushed down the traditional path of marriage and child-rearing in her country.

Born in 1951 in Ogidi-Ijumu, a small village in western Nigeria known for its spectacular rock formations and traditional art industry, Davies-Okundaye resolved to fight this practice four decades ago.

“By the age of 13, they wanted to marry me off because my father had no money. I had to run away from home and join a traveling theater. I said I didn’t want to marry and wanted to pursue art,” recalls the internationally-renowned Lagos-based artist.

Not wanting to become one of six wives to a minister, Davies-Okundaye found her escape through adire, the name given to the Yoruba craft of tie-and-dye where indigo-dyed cloth is made using a variety of resist-dyeing techniques. Growing up in a predominantly art and craft household, Davies-Okundaye is a fifth-generation artist who decided to take the craft seriously due to poverty.

“I had no money to go to school and the first education parents give you is to teach you what they do. So, when I finished primary six and I had no support to go to secondary school, I said to myself, ‘let me master art so I can teach other women to also use their hand to make a living through their own artwork’.”

Davies-Okundaye was forced to work in the male-dominated construction sector, carrying concrete in pans to builders in order to save one shilling, just enough to buy a yard of fabric to create what she called wall-hanging art.

Her goal was to use the traditional wax-resist methods to design patterned fabric in a dazzling array of tints and hues. The adire design is the result of hand-painted work carried out mostly by women and through that, Davies-Okundaye saw a way to help women to become economically empowered. After all, her first break in life came as a result of that.

“There was no other job I was doing apart from adire. I was lucky the American government came to Nigeria to recruit an African who will teach African Americans how to make traditional textiles or crafts in the state. That is how I was lucky and got picked.”

Davies-Okundaye was the only woman in a class of 10 men who were flown to Maine in northeastern United States in 1974. That is where her whole outlook on life changed.

“Before I went to America, I used to carry three drums of water every day and carry firewood to be able to survive. It was like a breakthrough in my life when I reached America. I said ‘is this heaven?’ I was the only woman in the class and all the men were learning women’s looms and I kept telling them ‘this is for women’ and they said ‘yes, in America, what a man can do, a woman can also do’.”

This was in stark contrast to what she knew to be true in Nigeria at the time.

“If your husband is an artist, you are not allowed to do art. In the 1960s, if your husband has a PhD, you are not allowed to also have a PhD. You had to give room for your husband to be your boss.”

She decided to beat those age-old stereotypes.

As one of 15 wives to her then-husband at the time, Davies-Okundaye, with her newfound knowledge gained in America, started a revolution at home. She encouraged the other wives to create their own art business using adire.

“I said ‘if you learn this, you can earn a living by yourself and get your power because your money is your power’ and that is how they also started learning it. I didn’t stop sharing the knowledge there. I gathered girls on the streets who were selling kola nuts and peanuts and started training them. I said ‘if this textile can take me to America, let me teach other people’,” says Davies-Okundaye.

And that has been her calling ever since. Davies-Okundaye is the founder and director of four art centers, which offer free training to 150 young artists in Nigeria in visual, musical and performing arts.

One of the centers is the largest art gallery in West Africa comprising over 7,000 art works.

“They used to get the police to arrest me because they said I was trying to teach feminism in Nigeria because I went to America. They said I was going to corrupt our Nigerian women but I believe God sent me to liberate a lot of women who have the passion for what makes them happy but are afraid to do it because of what people will say. I say do what makes you happy always!”

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Why This Photographer Looked Up During The Lockdown

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Steven Benjamin chose to focus on the bird life in his garden in Cape Town to escape the confines of the lockdown.

During South Africa’s five-week shutdown (the country is still on Level 4 restrictions), Cape Town-born underwater photographer Steven Benjamin more used to sharks, whales and dolphins, used the period to look up instead – and indulge in bird-watching, another passion of his.

“Ever since the age of five or six, I have been interested in birds. I was dyslexic as a young child and I still have my first bird book where I ‘ticked’ backwards. I was trying to identify the birds that flew into my pre-school class and begged my mom to let me mark off what I’d seen, so birding has always been a passion,” says Benjamin, who also runs a seal-snorkeling business.

He has spent his life capturing South Africa’s marine world, and now, Benjamin had to redirect his focus to his Kalk Bay garden during the lockdown to photograph Cape Town’s resident birdlife.

He says photographing these feathered beauties is a way to bring joy during these uncertain times.

“They are so beautiful but incredibly difficult to photograph because they are shy and extremely fast. Photographing birds is a challenge but it creates a mental space to observe and admire nature.”

Soon after the lockdown started, Benjamin put white sugar in his bird feeder every morning and enjoyed the sight of local birds and documented them. He posted the images on Instagram and that garnered some online attention.

“The lockdown has made me relax and take the time to do things I would never have gotten around to doing. I settled on this project, which I work on every day. I’m always adding something new to the scene and there are always new birds and interactions happening. It’s made the days fly by,” he says.

During the lockdown, there was only one male Cape Sugar Bird that landed in his garden. This spectacular bird is unique to South Africa and mostly only found in the Western Cape. All of this will go into an exhibition Benjamin is working towards in Cape Town.

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‘Our Home Became The Film Set, Blankets Became Props, Windows Became Locations’

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A poem exclusively penned and performed in lockdown in the US for the readers of FORBES AFRICA, by Rwandan artist Malaika Uwamahoro.

Malaika Uwamahoro, an artist born in Rwanda, and a Theatre Studies BA graduate from Fordham University in New York City, has performed her own poetry on stages around the world including at the United Nations headquarters in New York, and at the African Union summits in Addis Ababa (Ethiopia) and Kigali (Rwanda).

In 2014, she made her Off-Broadway debut at Signature Theatre in the world premiere of Katori Hall’s Our Lady of Kibeho.

Currently resident in Portland, Maine, in the United States, she speaks to FORBES AFRICA about her life in lockdown, and about a poem she penned exclusively for the readers of the magazine: “To fight this pandemic, essential workers and medical doctors are doing their best on the frontlines to ensure everyone in need gets the necessary support and best care possible… Before we are all choked and out of breath just by thinking about this, I extend this poetry piece as an invitation to look inward.”

How did she come up with the poem, titled I Don’t Mind!, and its accompanying video?

“It was late in the night, my fiancé was fast asleep, and I thought to myself, ‘how do I really feel about all this, what are my true thoughts about this pandemic, what can I do’? I opened my notes and the words began to flow.”

A few days later, she shared the poem with her fiancé, Christian Kayiteshonga, a filmmaker.

“We had previously been pondering ways to make art in our home. This poem seemed like the perfect push to set us in our new path. Our home became the film set, using blankets and cake mix as props, windows and office space as locations, myself as the talent, him as the crew, and now you as the audience,” says Uwamahoro, who also performed for the ‘In the Spotlight’ segment at the FORBES WOMAN AFRICA Leading Women Summit in Durban, South Africa, on March 6.

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