New beef alert;Shina Peters says "2face is Empty"

In a brief interview, conducted at TV Continental in Lagos, Shina Peters tells us ‘…I want to see someone like 2face to be very successful because everything is just name. But deep down, I’m sorry to say this, he’s empty and it’s not good for our artistes…

- Dimeji Ogedengbe Via http://www.mytruspot.com

50 Cent Is Getting Sued For Stealing A Movie Idea

A lawsuit has been filed against 50 Cent by Shadrach Winstead alleging that the rapper stole the plot for his self-directed Before I Self Destruct from Winstead's novel The Preachers Son — But The Streets Turned Me Into A Gangster. While by all accounts garnering the credit for Before I Self Destruct a dubious distinction at best, there are obviously financial issues at stake.

Hopefully -- for all our sakes -- this experience will be enough to sour 50 at ever trying his hand at "filmmaking" again.

Heartbroken young men Men in their late teens and early 20s are more vulnerable to ups and downs in their intimate relationships than young women, a recent study suggests

It takes Egan Quinn all of 5 seconds to come up with the name of a friend who is obsessing over a bad relationship.

"Oh, God!" says Quinn, 22, of Traverse City, Mich., chuckling sympathetically as he launches into a classic tale of romantic woe, complete with empty threats, pointless fights and strong feelings that simply aren't reciprocated.

The twist: This time, it's the guy, not the girl, who has checked into the "heartbreak hotel."

''We tell him to get over it," says Quinn. "The girl obviously doesn't like him."

According to a recent study of unmarried adults ages 18 to 23, young men experience more emotional distress when their romantic relationships are going badly than young women — a finding that runs counter to conventional wisdom, but that accurately reflects the experiences of several 20-somethings we talked to.

"The stereotype is the guy breaks the woman's heart, but in reality it doesn't happen that way," says Jeff Burdick, 28, a graduate student from Syracuse, N.Y. "I think of myself: I had a relationship end, and I was heartbroken for the longest time."

The study of more than 1,000 young, unmarried adults in Florida, published in the Journal of Health and Social Behavior, found that young women's mental health was more closely tied to their relationship status — whether they were in romantic relationships or had experienced recent breakups. But young single men's mental health was more closely tied to the quality of their ongoing romantic relationships.

Men not only suffered significantly more stress during relationship problems; they appeared to get greater emotional benefits from the relationships that were going well.

"Men come off as more vulnerable" to issues in their romantic relationships, says Robin Simon, a sociology professor at Wake Forest University who co-authored the study.

One possible explanation is that young men are less prepared for these relationships than young women, Simon says.

"Females are socialized from birth that romantic relationships are really important and they talk to their girlfriends about them, their parents inculcate a sensitivity to them, (and) all the print magazines that young girls and women (read) pay attention" to them, she says.

Young women also tend to have more close social ties, says Simon, which means they are more likely to have supportive people to talk to.

Pamela Barrientos, a college junior from Red Wing, Minn., is among those who say that Simon is on to something.

Abuja Carnival welcomes all

The Katsina Troupe at a previous edition of the Carnival Photo: NEXT

Organisers of the Abuja Carnival have concluded plans to host this year’s edition, holding in the city from November 27 to 30. In related developments, industrialist Gabriel Igbinedion has been unveiled as the Grand Patron of the annual carnival. At his investiture in Abuja on October 19, Minister of Tourism, Culture and National Orientation, Abubakar Sadiq Muhammed, said the installation was “a very essential element” of the national carnival.

“We are not only very careful of how we choose a Grand Patron who is expected to provide support to the carnival, but we also hold the personality in great reverence,” said Muhammed. The minister added that the grand patron’s role is a two-pronged one: a call to service and an acknowledgement of service already rendered.

Igbinedion’s investiture followed the earlier unveiling of former Chief Justice of the Federation, Alfa Belgore, as ‘Father of the Carnival’. Speaking with the press, Artistic Director of the Abuja Carnival, Rasaki Ojo Bakare, shed light on the selection of patrons. He said the Abuja Carnival Management Committee had sought “people who are carnival-friendly, who love culture; and of course who have the resources (financial or moral, money or goodwill).” He described Igbinedion and Belgore as “people on whose image the carnival can ride to the private sector and get the kind of leverage and acceptance it needs to blossom.”

Among the activities planned for this year’s event, tagged ‘The Jubilee Carnival’ are: a Street Carnival (along an 18km route covering Abuja’s Area 1 to Area 10 all the way to Eagle Square); an Opening Ceremony holding at Eagle Square on November 27; Children’s Fiesta; Durbar, Cultural Night, Masquerade Fiesta and Boat Regatta.

Let the children come

Carnival secretariat has adopted a new approach the children’s programme. Bakare said, “For the first time, it’s going to be competitive. We’re not just going to pick kids from Abuja schools as before. Now, the states are coming, not just with adults – they are coming with their children as well.” This is a major departure from before, where selected kids from Abuja schools were rehearsed to represent the various states in non-competitive displays. “The carnival has been window dressing in that regard,” Bakare admitted. Now, it is all going to change, and children can compete for prizes, just like the adults from their states.

The carnival director defended the new competitive edge as regards children, saying, “If you don’t want me to make it competitive, there is no point allowing the states to spend money to bring the kids. We can as well go ahead with going to 15 secondary schools in Abuja, take their children, package dances for them, make noise and go. But because we want to give the thing a deeper meaning, let the children have the pleasure.”

Youngsters will compete for laurels in four categories including Traditional Chant. “This is an aspect of tradition that is dying out. As a well-rooted Yoruba man, I do Ijala, Rara and so on” – said Bakare, noting that children in most homes cannot even speak indigenous languages well these days, let alone chant. “We want children who are in these ‘ajebota’ schools to come and do traditional chants – it is a way of forcing them to acquire our traditions,” he affirmed.

Other competitive categories for children are: Oral poetry, Traditional Dance and Traditional Music. The welfare of participating children (who will also dance along the 18km route) is high on the agenda. While the adults will arrive in Abuja a week before the carnival to prepare their floats and perfect their routines, “the states will bring their children on the eve of their programme. After they are through, they can go back.”

Nature of carnival

Asked about unchanged activities from previous editions, Bakare took the opportunity to talk about the nature of carnival. “The nature of carnival as a brand, is different. You don’t change the content from year to year. Carnival is a street party. The carnival has its own nature, whether 100 years of independence or not, carnival is the same,” he declared. What changes, he explained, is the theme. “It is the theme that reflects what is happening currently in the country.” The Jubilee Carnival will therefore reflect the ‘Celebrate Nigeria at 50’ mood in the floats, costumes, designs and performances. “When the theme changes, the motifs change. You always see durbar, but it will not be the same durbar costume. It will not be the same way you dress your horse; the way you dress them now will reflect the theme of this year’s edition.”

The 2009 edition saw the introduction of Overall Prizes for the best three states in the displays, over and about the laurels in the individual categories. Bakare said this was intended to “define the colour of the competition, so the states will be more serious” to elevate carnival awards over the level of “tokenism”. A telecommunications giant that was to sponsor the Overall prizes last year, bailed out. Nonetheless, the best three states overall were rewarded by being recommended to represent Nigeria at different international festivals.

All in all, Rasaki Ojo Bakare promised that the 2010 Abuja Carnival will be bigger and better than ever. Seven countries including Trinidad and Tobago, India, Ghana and Egypt have confirmed their participation. Tourists are expected from all over the world, and the organisers have downplayed security concerns in the wake of the Independence Day bomb attacks in Abuja. Bakare insists his team is interfacing very actively with the security agencies to ensure the safety of carnival goers.

“What we should be doing now is to mobilise Nigerians. Let them know their carnival is here again. This is what you are expected to do as a Nigerian: come out and watch the proceedings.

Story courtesy Molara Wood via Next234.com

Jazz in the park and other civilised places

Jazz lovers at the Federal Palace garden. Photo: Tami Kuboye

The first Lagos Jazz Series, held at three Lagos venues from November 5 to 7, lived up to its billing. Jazz aficionados savoured performances from great artists including Karen Patterson, Jimmy Dludlu, Somi, Chinaza, Bez, and Morrie Louden at The Sofitel Morehouse, Ikoyi, on Friday; Federal Palace Hotel, Victoria Island, on Saturday; and Muri Okunola Park on Sunday. Conceived by Oti Bazunu to give Lagosians a unique experience of live outdoor Jazz performances, the crowd that attended the three shows couldn’t have wished for more. It was bliss soaring on the wings of great Jazz.

A natural

Patterson, Somi, Chinaza, and Louden opened the series on Friday at The Sofitel Morehouse. They took turns to entertain the guests, most of whom defied that evening’s rain to attend the show.

The artists allowed their music to speak for them, for the most part. They strummed their guitars; blew the horns in soulful tunes; beat the drums; played the piano, cello, and other instruments to create mellifluous sounds that warmed the crowd.

Enamoured by Friday’s opening event, guests returned early on Saturday to share in the fun at Federal Palace Hotel. Somi, the first act who was outstanding the previous day, didn’t disappoint. By the time the Ugandan-Rwandan singer and her four-piece backing band finished, the audience couldn’t resist applauding.

“Somi is a natural,” said Tomiwa Aladekomo, one of the Lagos Jazz Series team. “I so looked forward to this, and am happy Nigerians are easily connecting with her.”

“This is a good start already. And I have no doubt that this will become West Africa’s answer to the Cape Town Jazz Festival,” noted a guest after Somi’s performance. “It’s unbelievable that this is happening in Lagos.”

Saxophonist, Mike Aremu, is a toast of Nigerian music fans and they duly applauded when he came on after Somi. Aremu confirmed himself an excellent stage performer with his delivery. Feet shorn of shoes, he sang hits from his albums and engaged his three back-up singers in a call and response routine to the saxophone. He also exchanged banters with the audience and invited two guests to a ‘dance duel’ in the heat of the performance.

The 50-year-old Louden was next. The star of the New York Jazz scene took over Lagos the rest of the night together with his band, cleverly using horns and strings to serve a sound that made many marvel.

Fusion

Ayetoro, led by returnee musician, Funsho Ogundipe, was the opening act on the last day of the Jazz series. The band, which has played well received gigs at Lagos venues including the Oriental Hotel, proved its class on the big stage in Muri Okunola. Television presenter, Oyiza Adaba, a major enthusiast of the band, watched the performance from the audience at the al fresco concert.

Adaba said of Ogundipe and Co, “Being the first band in Nigeria to fuse Hip-Hop with Jazz in 1996 with the track, ‘JT’s Tale’ (with the late JT West), Ayetoro’s performance at the Lagos Jazz Series demonstrates the maturity of the band’s music over the last 10 years.”

She observed that the appearance was indicative of the next level for the band: “a fusion of certain elements in different genres on their upcoming album.”

Award-winning South African guitarist, Dludlu, was also on the bill at the well attended series. The artist, who featured in the MUSON Jazz concert last year, joined Ayetoro and others at Muri Okunola Park on Sunday to give Jazz fans a memorable parting gift.

Up and coming act, Bez, closed the show. For those who had seen him bring the house down singing Fela’s ‘Water No Get Enemy’ at Keziah Jones’ Terra Kulture gig months back, it would have been no surprise that Bez held his own after Dludlu’s electrifying performance.

New ground

“We hope the success of Lagos Jazz Series at Muri Okunola Park paints a different picture on security in Africa’s most populous city,” said Bazunu.

Though security is a major concern in Lagos, the Muri Okunola Park segment of the Jazz Series ran from Sunday night into the early hours of Monday morning without any incident. The successful mounting of the show out in the open air, turned out to be an endorsement of the park as a viable entertainment venue.

On air personality, Gbemi Olateru-Olagbegi of Beat FM, praised the concert in the park. “We keep complaining that there are not enough concert venues in Lagos, but I think the organisers have just shown us that we need to be more creative with how we choose our venues,” she said.

Mike Aremu was one of those who gave the artist’s viewpoint at the end of the show: “Our artists keep looking for big stages to display their talents at different festivals in Europe, America, and even South Africa. I’m so glad that events like the Lagos Jazz Series are happening. This is similar to any standard you’ll find anywhere in the world.