One of Nigeria’s most enduring reggae legends and champion of the musical copyright society of Nigeria(MCSN), Oritsabemighor Wiliki, popularly known as Orits Wiliki, spoke to eelive.ng a couple of months ago on his career and the protecting the interest of Nigerian artistes.
What are you up these days with your music and other things?
Well, I am working on my 35 years Anniversary and l intend to use the platform to Launch my new efforts which come as a double Album.
Do you think reggae is having a good time in Nigeria now, why do you think the situation is as we have it?
Reggae music is still very much around; although it has metamorphosed into other style and pattern over the years. From SKA to roots rock from roots rock to lovers’ rock, from lovers rock to ragga & dubs, from ragga dubs to dancehall from dancehall to hip hop and so on.
So, I will say Reggae is still what we have around. Though we do not have much of the traditional roots rock on our airwaves. That is partially what is missing because it comes with good contents that edify the troubled minds.
Today, you have so much profanity, drugs, cultism, nudity, and violence all around us. Even suicide, because there is nothing to mould our children in terms of good messages or contents from what you hear on our radios and TV.
Let’s talk about Nigerian music as it is currently, what does the industry look like compared to the days when you were younger? Are there ways it can be better?
The entertainment industry could be better. Over the years, we have fought for structures that should enable the industry to flourish. But it has taken us so long with little success.
What we have experienced over the years is the show without the business. Please, do not be fooled with the hype you see on social media. Until you can, by a punch of a button, tell how much albums or CDs an artiste has sold, you cannot count on the hype.
The norm in other climes is that artistes are measured and classified according to how much records or CDs they have sold. Most of what you seemingly see around us are artistes who live on corporate endorsements. Take that away and you will find out there is actually no industry yet.
What is the situation with collection management in Nigeria, where is the MSCN on this and given the crisis at COSON, would does this future look like?
Well, I can tell you today that MCSN is the only approved collecting Society for now. It took us over 20 years to get here. Over the years, we have been bedevilled with the ugly monopoly that has seen most of my colleagues die without getting their dues.
Some have been so impoverished that they lost their abode and have had to relocate back to their hometowns or states. Some died of common malaria and typhoid because they couldn’t afford their medical bills or get help on time.
So, with MCSN there is a great light at the end of the sad stories of the past years where people were just collecting other people’s money with a high level of impunity. We can only get better from this point on.
Now that you have court judgement, what are the immediate plans to see that things improve for the Nigerian artiste in terms of right collection?
First, we have learnt to be humble in our victory because the victory is the victory for the entire enslaved industry. Secondly, so much had gone wrong in the copyright collecting management sector that collection of monies for the past eight years hasn’t been well accounted.
Hence, we seek explanations to MCSN’s monies that were collected by COSON without our permission or authority to do so because we warned from day one that they shouldn’t.
Thirdly, we must overhaul the entire sector. That is like rebuilding the sector from where we were stopped eight years ago; that doesn’t come easy like starting again from ground zero.
Despite all these problems, the sector can only get better from now. A situation where you have many carpenters, vulcanizers, agberos, and fishermen claiming to own rights must be proven or regularize.
How would you say the music business has treated you, has it given you all that you aspire?
I will say thank you Lord every little step along the way for He said we should give thanks in everything. We were many at a time but how many are still standing tall and relevant. I thank God for being counted amongst the few.
Share with us how you became a reggae artiste
Well, I started out as a little boy singing in the church, but l went Professional 35 years ago. I started out working behind the scenes. Honestly, there is no artiste of note in the 1980s that didn’t have a little of me either as a percussionist, arranger or co-producer.
From the Mandators to Majek Fashek to Ras Kimono to Alex O to Cloud 7, to Chris Mba to Keni George and so on. However, I started to release albums from 1989 and as of now, I have released over 145 songs in ten albums. So, you see the reason I must give thanks. I believe God has a special plan for me.
What advice you would have for younger musicians
My advice will simply be for them to search within themselves and to discover what talent God has deposited in them. God created us and blessed us with at least a talent.
Therefore, you must search for that and strive hard to developer it. You must stay out of trouble and away from drugs. And above all, put God first.
What is that thing that you would want people to remember or think about you whenever your name is mentioned?
Well, I would want to be remembered as one who fought the system with music without imploring violence.
