ASIDE from the passage of fuji music luminary, Ayinde Barrister in December 2010, one artist whose death almost shock the country to her very foundations in 2011 was Christy Essien Igbokwe.An artist whose career overlapped between acting and music, she enjoyed a befitting burial ' with ceremonies that culminated in a football match between musicians and actors ' as a manifestation of their profound solidarity.The late Christy Essien Igbokwe can safely be described as an artist with two lives. She was an actress and a musician. As a person, she was a good mixer who ingratiated herself easily into the community.As an actress, she played the commendable role of 'Apena' in 'Masquerade,' a television soap, which dominated the airwaves in those early days of acting. As a musician, she had a 'Soul Train' outfit that contributed to the foreign pop revolution of the '80s.Contributing to the music industry even at union level, she became the president of the Performing Musicians Association of Nigeria (PMAN). All of this information is in the public domain and is available to all who care to know, but I had a personal encounter with her in the early '80s which I consider memorable. The year was 1982. The project that brought us together was Radio Nigeria 2 top 10, a hit parade.Her ground-breaking album, Ever liked my person went straight to the number one slot on release. And for three months, it hovered around the chart to prove its significance and appeal. The advantage was that for months, the airwaves resonated with Christy Essien-Igbokwe's music and established her as a true musician.Not only was the music played on the various programmes of the station, it also enjoyed rave reviews on the weekly Top 10 discussion programme where the 'count down' was highlighted by such reputable entertainment journalists as Charles Anyiam of the Daily Times, Fola Arogunade of Punch who were joined by the late Larry Ifedioranma of Ofo the Black Company.Perhaps the most significant outcome of this whole episode was the fact that it opened the eyes of Christy-Essien to the essence of 'authenticity,' the fact that for an artiste, the formula for gaining profound acceptance and popularity even at grassroots level is identification with your roots. How' She discovered that even though Ever liked my person (which was also the title of the album) was her favourite and the song with which she intended to sell the album, it was Seun rere, a highlife-oriented accomplishment that was the choice of the record-buying public. This was the song that all the radio deejays, most of whom had the preference for foreign popular music, played.As a song, Seun rere is a master piece even though simplein structure and progression. It has no call-and-response element to it but as a melodic frame, it is inventive, especially as it has a beginning, a distinctive middle and an end ' with the colouration of folklore.For most people, it is the lyric that turns them on, with words of exhortation and moral values. Lyrically, Seun rere is comparable to Ambrose Campbell's Omo laso or Julius Araba's Omo lere aiye which have been kicking around for years, enduring from generation to generation, since the 1940s, on account of the moral values that the messages generate.Upon Christy Essien's death, Prof. 'Sir' Victor Uwaifo, himself a veteran musician who has enjoyed superstardom, paid glowing tributes, through a text message saying, 'Christy Essien Igbokwe's death came to me as a rude shock. She was an actress of very remarkable achievement who dominated the 'tube' television industry with her star role as 'Apena' in the '70s and '80s.'From acting to music, she contributed to the growth and management of the music industry in Nigeria especially at a time when the industry was entirely dominated by men. She also blazed the trial as the first woman president of the Performing Musicians Association of Nigeria (PMAN) and the defunct PMRS, a collecting society. She will be fondly remembered by all lovers of music and entertainment in Nigeria and beyond.' He concludes the tribute by saying, 'Christy Essien has left her footprints in the sand of time.'Veteran producer, Odion Iruoje has a high opinion of Christy Essien: 'She was a highly talented artist who believed in herself. Her creativity also manifested in her ability to socialise and organise. What has become PMAN today was Christy Essien's initiative.' Going back memory lane, the ace producer went back in time to the circumstances that led to the formulation of PMAN and how Christy Essien demonstrated her organising ability.When he was in EMI Records, a group called The Diamond 3 featuring musicians from Ghana recorded Pocket no good, a highlife music album that sold considerably in Ghana.On account of the success of the album, the trio was needed for the recording of a follow-up and a message was sent to Diamond 3 to come back to Nigeria for this recording. But they did not show up.Suddenly, they eventually appeared. In the presence of the late Sunny Okosun, Christy Essien and others, Odion asked Diamond 3 why they delayed and they explained that they were stranded, with no money to transport themselves back to Lagos. They further said that while they were bemoaning their fate, somebody told them to meet the management of Ghana Union and Musicians who were collecting royalties on their behalf. They did, and smiled to the bank. It was the union that bailed them out.Odion now called Essien, Okosun and all the musicians who were in the premises to listen to the story. The Diamond 3 narrated their experience and Christy Essien was immediately fired and inspired. She went back home, got together with her husband Ediom Igbokwe to form what is now PMAN.
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