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BOOK REVIEW: The Last Word On Media Relations By Uzor Maxim Uzoatu

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By Uzor Maxim Uzoatu*

As it concerns the media, public relations has received a much-needed breakthrough in the just-published book Media Relations Playbook: 25 Proven Effective Hacks by Chido B. Nwakanma.
Contemporary developments in media relations in Nigeria and much of Africa are explored with a mastery that compels attention.
The much sought-after media consultant and educator Chido B. Nwakanma has facilitated training sessions on media relations management at professional forums and academe over the past nine years and distinguished himself as Adjunct Faculty at the esteemed School of Media & Communication, Pan-Atlantic University, Lagos.
It’s instructive that the National Universities Commission (NUC) has divided Mass Communication into seven distinct domains, with Public Relations as a stand-alone field.
Given that Media Relations are pivotal to Public Relations, Nwakanma’s Media Relations Playbook is a timely game-changer and quintessential guidebook.
Nwakanma is akin to an astute coach in American football who graduated from the field as a consummate quarterback who masterfully orchestrates the game armed with a classic playbook.
One cannot but learn from the guru, who has 30 years of cognate communication management experience and has served as President of the International Association of Business Communication (IABC) Nigeria and the Public Relations Consultants Association of Nigeria (PRCAN).
In this millennial age of multiform information platforms, the media can be said to be everywhere.
As of April 2023, Media Relations Playbook informs, Nigeria had 740 functional radio, television and online broadcast stations, made up of 390 radio stations and 350 television stations, broadcasting in English, Hausa, Yoruba, Igbo, Ijaw, Fulfude, Efik, Urhobo and well over 50 other languages.
Nigeria has over 100 national, regional, community and local print media publications, with the most famous newspapers being the Guardian, The Punch, Vanguard, ThisDay, The Nation, The Sun, Daily Trust, Leadership Daily Independent, and Premium Times.
Digital media can be seen as all the rage today, and the ubiquitous social media cannot be done without warts and all as per information, misinformation, disinformation, and sundry whatnots.

Nwakanma’s Media Relations Playbook offers 25 seamless lessons, starting with being clear about objectives, audiences, and deliverables.
In media relations, it is crucial to be clear about strategy, i.e., the plan of action to achieve a long-term aim.
A distinct media engagement plan specifies who, what, where, when, and how to do the necessary.
It is incumbent on the responsible practitioner to “tell your story” because “the goal of a media relations effort is usually to get the word out on behalf of your organisation or client.”
There is no escaping the necessity of writing different versions of the story to reflect the media types of the moment.
Nwakanma advises sticking to the positive in crisis and avoiding off-the-record comments that may spell disaster.
In critical media relations activity, one must be prepared to expect various responses, including the less-than-salutary.
Against the grain of sharing “in confidence” experiences, one should bear in mind not to say anything one would not like to be published.
As espoused in Nwakanma’s Media Relations Playbook, managing the diversity of platforms is a significant lesson in doing the job.
Nwakanma stresses that “media relations and communication as a whole stand on solid theoretical foundations,” which leads the author to advise: “Thou shall apply media theories.”
Nwakanma states, “Media segmentation is a central theme in the literature on integrated marketing communications.”
The Media Relations Playbook teaches the lesson that “Monitoring has become even more critical in the age of fake news, multiple platforms, and algorithms.” Monitor! Monitor! Monitor!
The importance of building relationships cannot be gained in profitable modern-day media relations.
Like Noah in the Bible, one must build the ark before the unleashing of the storm.
The need to budget appropriately and effectively cannot be over-emphasized, as Nwakanma avers: “The budget makes or breaks the deal.”
It is essential to “note that charges apply to dealing with the broadcast media,” which Nwakanma illustrates with the experience of the public relations agency Blueflower Limited over the “commercial news” issue in broadcast news in Nigeria.
Even as Nwakanma knows that “the exchange of cash is a principal narrative and impression of media relations in Nigeria and most of Africa,” he boldly advises that one must “be ethical for long-term benefits, despite the environment.”
Evaluation is critical in Nwakanma’s Media Relations Playbook, and “the most crucial evaluation is the one the clients do.”
Nwakanma argues that the industry has gone beyond the traditional 4Ps of marketing—product, Place, Price, and Promotion—hence, the astute practitioner should “recognise that media are only part of the total communication mix” and include other elements such as Word of Mouth.
The standing advice is to “handle rejoinders with tact and focus on the big picture.” Nwakanma illustrates the rejoinder matter by publishing the article entitled “Arik Air is a Disaster waiting to Happen” by RO Isenalumhe Esq that gets a rejoinder entitled “Press Statement: Arik Air Operations Safe” by Captain Roy Ilegbodu, the Chief Executive Officer of Arik.
Nwakanma also publishes the opinion piece entitled “The Asaba Disgrace” by Reuben Abati on the 2018 African Senior Athletics Championships hosted by Delta State, which attracts two rejoinders entitled “The Joy and Thrills of Asaba 2018” and “Take Two of the Joys and Thrills of Asaba 2018” by Jackson Ekwugum, the Manager of Communications at Government House, Asaba.
Remarkably, Nwakanma re-publishes his rejoinder to Reuben Abati’s article “The Jonathan They Do Not Know,” in which he juxtaposes the world of difference between Abati’s role as a newspaper columnist and his role as a PR strategist for President Jonathan.
In the final lessons of Nwakanma’s Media Relations Playbook, the advice is to follow through on promises, note that communication is a cultural phenomenon, seek and get consideration, know that the platform and the exposure belong to the principal or client, and finally practice direction on media relations by industry pros.
The five case studies in media relations management included in the media Relations Playbook are written by Dr. Emeka Agbayi of Nigeria LNG Limited (NLNG), Funsho Aina of MTN, Temitope Oguntokun of International Breweries Plc., Erhumu Bayagbon of AIRTEL, and Daniel Okereke of American University of Nigeria (AUN).
Chido B. Nwakanma has written a watershed book in Media Relations Playbook: 25 Proven Effective Hacks and I can go no further than agree with the words of the PR guru Mike Okereke, penned in the Foreword: “I can confirm that the Media Relations Playbook is the best book on Media With practice published in Africa and is one of the best around the globe.”

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ENTERTAINMENT

Police Explain Why Portable Was Manhandled And Arrested

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The Lagos State Police Command said it apprehended the well-known musician Habeeb Okikiola, also known as Portable, on Tuesday for failing to pay off a debt incurred from the purchase of a G-Wagon from a local car seller in the state.

Portable is accused of possessing a vehicle worth N27 million after paying only N13 million and failing to pay the remaining balance of N14 million.

Benjamin Hundeyin, the State Police Public Relations Officer, confirmed that Portable was apprehended.

“Yes, Portable was arrested. He purchased a G-Wagon for N27 million, paid N13 million, and refused to pay the balance, claiming the vehicle was defective. “We arrested him today,” he explained.

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ENTERTAINMENT

Davido Announces Retirement From Music, Creating Buzz In the Entertainment Industry

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David Adeleke, also known as Davido, has announced his retirement from music after releasing his next album.

On Thursday night, the ‘Unavailable’ crooner responded to some blogs’ doctored images and videos about him.

He claimed that some people desperately want him out of the music business.

“You niggas want me out of the game that bad? Oya, after the next album, I am done. So una fit get peace,” he wrote on his X handle.

Yall niggas want me out of the game that bad ?? Oya after the next album I will not do it again. So una fit get peace.

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Davido recently stated that since joining the industry, most of his colleagues have not had peace of mind.

This is coming a few hours after dropping Kante’s visuals to wrap up the era of his fourth studio album titled ‘Timeless.’

Davido wraps up the Timeless era with Kante’s visuals featuring Fave.

“You are not my destiny decider,” Barber claps back to Davido.
‘Kante’ is the tenth track from ‘Timeless’, a Grammy-nominated album released in March 2023.

The singer stated that he is looking forward to a new era of music and milestones.

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Davido rose to prominence with his 2012 hit ‘Dami Duro’ for HKN Music.

Davido established his music label, DMW, in April 2016.

The label has housed musicians such as Mayorkun, Peruzzi, and Dremo, among others.

In March, Davido rebranded his label as DMW 2.0 and introduced two new artists: Morravey and Logos Olori.

Last year, Davido received his first Grammy Award nomination in three categories, including ‘Best Global Album’ for his most recent album, ‘Timeless.

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Other awards included ‘Best African Performance’ for his song ‘Unavailable’ and ‘Best Global Music Performance’ for his track ‘Feel.

He also lost ‘Best Global Music Performance’ to ‘Pashto’ by Béla Fleck, Edgar Meyer, and Zakir Hussain Featuring Rakesh Chaurasia, as well as ‘Best Global Album’ to Shakti’s ‘The Moment.

 

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ENTERTAINMENT

Davido And Wizkid’s Rivalry: A Discordant Note In Nigeria’s Afrobeat Music

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David and Whizkid

By ISAAC ASABOR

 

In the heart of Nigeria’s vibrant music scene, two stars shine with a light so bright, they cast both illumination and shadow. Davido and Wizkid, the twin pillars of Afrobeat, have long been pitted against each other, not just by the media and industry but by their legions of fans. Their rivalry has become a staple conversation in Nigerian entertainment, often overshadowing the artistry and message their music carries.

The story of Davido and Wizkid is one of parallel paths. Both rose to fame in the early 2010s, capturing the hearts of millions with their unique sounds and styles. Davido, with his energetic beats and catchy hooks, and Wizkid, with his smooth melodies and international collaborations, have both contributed significantly to putting Afrobeat on the global map.

The rivalry, however, seems to be more of a fan base creation than a personal vendetta. Social media platforms have become battlegrounds where “Wizkid FC” and “30BG gang” clash in fierce debates over who is the true king of Afrobeat. This division has led to a discordant note in the otherwise harmonious Nigerian music industry.

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While competition can drive artists to push their creative boundaries, the question arises: does this rivalry benefit the genre? Afrobeat is celebrated for its ability to unite listeners across different backgrounds, telling stories of love, hardship, and triumph. The focus on rivalry can detract from the music’s core values and its power to inspire and bring people together.

Unfortunately, recent social media spats between the two artists have further fueled the rivalry, with fans picking sides and engaging in verbal battles online. Without a doubt, these incidents can create a charged atmosphere that, while not directly linked to gangsterism, does raise concerns about the potential for escalating tensions.

In fact, the rivalry has become a cultural phenomenon, reflecting complexities within fan base identity and the evolving landscape of African music. While some argue that the competition drives the artists to greater heights, others worry it could perpetuate division within the industry.

Without a doubt, there are broader concerns about the impact of intense rivalries and fan base divisions on the music industry. Some industry observers have expressed worries about the potential stifling of other musical genres in Africa due to the dominance of Afrobeats and the intense focus on a few top artists

Given the fear or rather worries that the popularity crisis between the duo is stirring among their fan bases, it is admonitory to note that while the rivalry between them has certainly intensified over the years, there is no direct evidence to suggest that it has fueled gangsterism within the Afrobeat genre. However, the passionate and sometimes aggressive nature of their fan bases, coupled with the artists’ public disputes, does highlight the need for responsible fandom and artist behaviour to maintain a positive and inclusive music industry environment.  The industry needs to foster a culture that celebrates diversity and discourages any form of violence or division.

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As Afrobeat continues to gain international acclaim, artists and fans alike must remember the roots of the genre. Afrobeat was born out of a need for expression and unity during times of political and social unrest. The legacy of its founder, Fela Kuti, was not one of division but of collective resistance and celebration.

Admonishingly put, Davido and Wizkid’s rivalry, while it is a testament to their influence, should not be the defining narrative of Afrobeat. It is time to shift the focus back to the music and its message. Let us celebrate the diversity and talent within the genre and remember that every bird, no matter how high it flies, shares the same sky. And in the vast expanse of Nigeria’s Afrobeat music, there is more than enough room for every artist to soar.

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