Naira Marley’s Marlian & No Manners Ideology (The Good, The Bad)March 5, 2020
The Naira Marley set of three— – Soapy, Opotoyi, and Am I a Yahoo Boy?— is an examination in inquisitive unification: it has that ability to soften into one devotee swarm, a crowd of uncontrite heathens and bold holy people.
Furthermore, this solidarity is no respecter of topography; it exists in the club, the bar or even the house of prayer.
The artiste himself shamelessly distinguishes his group “Marlians” as people without any ‘habits rather No Manners’, a somewhat hazardous yet unsurprising terminology.
For one thing, the universality of Naira Marley‘s sounds has demonstrated that the bigger import of his chips away at culture and society can be analyzed without a by and large smothering of his specialty, which tilts intensely towards and draws motivation from (social) rebellion.
Regardless, whenever dealt with very well, disobedience and resistance are strong vehicles of masterful articulation.
For example, as much as it is characterized by discerning songwriting, uncommon office for magnificent instrumentation, and all-round splendor, Fela’s amazing status is similarly saturated with disobedience.
Also, from the prime of Eedris Abdulkareem, each artiste ready to be paid attention to has needed to submit a general direction to the Fela’s ‘Dissent Manual’.
Like Fela (whose crowd, all things considered, maybe had more extravagant tastes and showed up progressively worried about squeezing social issues), these contemporary artistes additionally know their crowds, and they comprehend that these ‘Lathery’- murmuring millenials are not regularly Fela’s.
Be that as it may, not at all like Fela, who fought terrible administration and different dirty tricks of the legislature by strolling the discussion, not a couple of these artistes presently draw in the state from the well-being of their chronicle studios and Twitter pages.
Others, similar to 9ice and Naira Marley, have created another worry for their own image of the Fela Rebellion: Yahoo-Yahoo and related indecencies.
Naira Marley comprehends this crowd demography very well, and he has manufactured his intrigue around this sensitive concern, intentionally or something else.
When in the second section of ‘Am I a Yahoo Boy?’, he (mis)appropriates Fela, and conjures the soul of Mandela and M.K.O Abiola, all apparent political dissidents, it was a ploy, an endeavor to legitimize his own doctored adaptation of the ‘Fela Rebellion’.
Expectedly, the outcome was a wonder: he increased more Twitter supporters and, obviously, more reputation. With such fan bolster comes the certainty to flavor up one’s frenzy. (What’s more, today, what else qualifies an artiste as a ‘legend’ other than being ‘dogged’, first, by an online horde and later by specialists of the state—appropriately or something else? It is important not on the off chance that he is blamed for raising scum and trick.)
Presently, no doubt, similar to Olamide‘s nonsensical visuals for the raving success ‘Science Student’, the melody (Am I a Yahoo Boy?) is an offhanded endeavor at denouncing social indecencies.
Halfway into the two tunes, it becomes perfectly clear that the ideal optics fizzled, rather breathtakingly, to cover the expectation: the two artistes may have shown up the studio for the account of their tunes following taking part in similar acts they (profess to) denounce.
The indications aren’t that dark, in any case: while Olamide’s lecture themed video and the shrewd significantly “Disapprove of Drugs” message evidently came as an after-suspected, Naira Marley’s shameless verses bombed him; the two melodies are a blend of barren parody and unsuccessful illustrations.
On account of Naira Marley, if there is one thing the verses did effectively, it just changed the game plan of the tune’s title: I am a Yahoo Boy.
Thus, justifiably, a huge piece of the discussions around Naira Marley’s specialty is saturated with social editorial. This is generally unsurprising in light of the fact that craftsmanship can’t exist in seclusion; it’s made inside the setting of culture and society.
In any case, to put an artiste’s works underneath the optics of his behaviors outside the studio is to stifle craftsmanship and its variegated shades of articulations. At that point comes the unavoidable issue: would we be able to acknowledge Naira Marley and his specialty without response to social editorial— – and its inescapable judgmental heavy hammer? Maybe.
For one, the artiste appreciates what he does similarly as ‘Marlians‘ do as well, or so it appears, and this makes his craft deserving of an autonomous appraisal, one without unctuous decisions.
Whenever considered inside the setting of the enthusiast follower-ship the artiste presently appreciates especially in Western Nigeria, the Naira Marley trinity (‘Opotoyi’ particularly) merits refined treatment. What’s more, for me, that the artiste has gotten away from lack of clarity and graduated into the zeitgeist gives a certain something: there is (a) Fuji to Naira Marley’s frenzy.
Fuji depends basically on ‘Saje’ – classless verses—and ‘Alujo’, quick beat move track, two of the essential components in which Naira Marley’s allure lies. For example, strip ‘Opotoyi’ of its brief length and what you’d have is another Fuji sound in the shamelessly named ‘Afrobeats’ structure.
Obviously the relationship is nothing unexpected: Fuji itself has its root in a mayhem of sounds – Juju, Apala, Sakara, Awurebe, Afrobeat, among others. Naira Marley’s fan bid, in this way, turns out to be very simple to approach.
There is the call-and-reaction measurement that practically all of Naira Marley’s works take, an unquestionable component of Fuji sound. There is the trademark acclaim singing that is the staple of Fuji, Juju and different indigenous sounds. There is additionally the infrequent reference to Islamic religious philosophy, as obvious in Soapy. (Obviously it is unnecessary to call attention to here that Fuji has its underlying foundations in Islamic culture, particularly as rehearsed in Western Nigeria.)
At that point comes the one frequenting question: Will Naira Marley support this beat for long? All things considered, er… it’s very far-fetched.
For one thing, there is something intriguing about contemptuous craftsmanship which charms it to numerous particularly at the beginning time of an artiste’s development. The peril, notwithstanding, is that such furor doesn’t ensure life span. Plus, there is a sure tedium to Naira Marley’s sound, one which opens his work to repetition.
As far as rhythm and stream, Opotoyi, for example, isn’t especially not quite the same as Soapy. The verses of the track, as well, could be confused with that of a negligible spin-off.
Thus discussing life span, the history book has an insight: in the harvest time of the noughties, there was a sure Terry G who embraced the spotlight as a result of his contemptuous image of “Ginger-Swagger” execution. He has since slid into haziness, to a great extent in light of the fact that there is constantly an expiry date for each furor.
To deflect the Terry G revile, Marlians could maybe push their preferred artiste to, as Naira Marley himself said, ‘Te’se le bo’ (go otherworldly over his case).