For centuries, artists have not just been singers but also culture shapers. Their words carry weight, and it shows the realities of the generation they lived in. Their actions and inactions influenced youths and adults alike. Through music, they soothe, enliven, and give happiness to listeners, while also offering sharp critiques of the state of the nation.
Many songs have been written, banned, and accepted for the ills of the society they confront. Albums and singles with political undertones fall favorably in this category. However, today, there is a significant change. A single phrase or sentence can say more than a 35-minute track. It captures societal realities in an encompassing way, allowing for different interpretations in social discourse. It gives credence to what people already know but needs someone to acknowledge for them. One striking example of such is Mavo’s street slang: “No more way for poor people.”
Mavo, the latest offering to Nigeria’s burgeoning Afrobeat scene, is a native of Ekpoma, Edo State. He came to the limelight with his (permit me to use the term) “escalladiziac” style of music. He blends invented slang and street language with Afrobeats rhythm to create what he refers to as Burbur music. If you have ever heard words like Escaladizzy, Gallorizzy, Kilo Kan Kan Mi, and Knack Appointment, you have definitely come in contact with his musings.
“No more way for poor people” is a recurring line and tag in the introduction of his songs. The sentence captures his reality and that of the generation he represents. Its context lies in the social dynamics of love, relationships, and money. In the 21st century, the game of the heart is fraught with heartache, betrayals, and unrequited love when materiality is not evident. This implies that love, marriage, and relationships are reserved for those who have deep pockets.
The poor or struggling man does not have a way with girls or womenfolk nowadays. Women often choose men of power, influence, and wealth since they have the cash to spend and can also spoil them on their exploratory voyage. This is a stark contrast to what sufficed in the olden days, when love was often for love itself. Yet, this is not to say that true love no longer exists; rather, it can be harder to find in contemporary times.
Furthermore, this sentence points to the psyche of a troubled social class. It exposes the thinking that sometimes fuels a man’s or woman’s decisions when they exist within this social stratification. It propels the need for a solution to escape the status ceiling and build a better life for both family and children. This drive created men and women of character and industry, as well as societies truant and people with questionable character.
In Culture Custodian’s “The Moral Complications of Consuming Fraud Music,” the writer, while exploring the theme, highlights songs and street slangs that have contributed to fraud culture in the Nigerian music scene. Just like Mavo “No more way for poor people,” slangs such as “Bombing and Azaman” originate from the same socio-economic conditions and widespread ills in the society. These street slangs are created within a context of systemic gaps and frustrations, and over time, they shape the attitudes and lifestyles of the people who consume them.
The “No more way for poor people” slang can also be interpreted as a call for proactive government action. It implies that there is a segment of society experiencing hardship, and improvement in their livelihood is of concern. For Mavo to use a catchphrase sparingly and have it instantly resonate with some young adults who form the bedrock of the nation, it portends that there are issues which need attention and solutions before it escalates into conscious demonstrations.
While these factors make the street slang be viewed through a realistic lens, it must be understood that it was conceived as words of entertainment and a cruise statement for the streets to feed on. Mavo’s street slogan is often magnified in ways that make anyone within this social structure view themselves as a lost cause. However, if interrogated clearly, it is subjective to the coiner and does not represent the mindset of every person at that time.
“No more way for poor people” as a street slang reflects the attitude and “moral” failings of a people. It reveals the ills of poverty and the mindset it creates in the long run. Although it is meant for entertainment, we must not fail to heed its call for change within the societal fabric.
The statement can be shelved aside as mere caprices of an exuberant young man that find their place amongst his peers; what we need not throw away is the truth that stares us in the face when we ponder the magnitude of the words and the consequences they can offer if left to wander for long in our social space.
Azeez Adekunle is a Nigerian music writer, critic and cultural commentator specializing in Afrobeat and its global influence. He analyzes developments in the music industry, and the cultural, social and political context behind the sounds.
