Category: Entertainment

  • How Movie Theaters Got Their Start in America

    How Movie Theaters Got Their Start in America

    At the turn of the 20th century, enterprising showmen were eager to exploit the emerging technology of motion pictures.

    In fact, the very first venues for showing motion pictures in America weren’t theaters, but “amusement halls” and penny arcades. In the late 19th century, the public often got its first taste of new technologies at coin-operated parlors. In the 1890s, for example, Thomas Edison set up “phonograph parlors” where Americans paid a nickel to put on headsets and listen to some of the very first music recordings.

    “The 30-year period from 1896 to 1926 is the story of a tinkerer’s technology that becomes a kind of artistic, industrial and consumer fantasy,” says Ross Melnick, a professor of film and media studies at the University of California, Santa Barbara.

    Moving pictures were the next big breakthrough. The first motion picture camera was patented by French inventor Louis Le Prince in 1888, and the idea was developed further by the Lumiere brothers (Auguste and Louis) in France and Edison in America.

    At first, there weren’t any projectors or screens to view the short films, which included 20-second loops of flexing strongman Eugene Sandow, a cock fight or Annie Oakley shooting her rifle. Instead, Edison and his assistant William Dickson invented a coin-operated viewing contraption called the Kinetoscope.

    “They put the film inside a fairly large box that was close to chest high, and you would bend down to look at it,” says William Paul, founding director of film and media studies at Washington University in St. Louis. “You actually hand-cranked it and ran through the film, which was on an endless loop, but you could only run through it once. For a nickel, you could watch one minute of people moving as in real life. It was captivating.”

    First Kinetoscope Parlor Opens
    American Stock/Archive Photos/Getty Images
    Thomas Tally’s Phonograph and Kinetoscope Parlor in Los Angeles, circa 1898.

    The very first Kinetoscope parlor opened to the public on April 14, 1894, in a storefront at Broadway and 27th Street in New York City. Inside were five Kinetoscopes lined up in a row, each loaded with a different short film. For 25 cents, a patron could view all five.

    For two years, coin-operated parlors and penny arcades were the only place the American public could view a motion picture, and Edison believed that individual viewing—not projection for an audience—was the future of motion picture technology. In 1895, Edison debuted the Kinetophone, another coin-operated device that paired moving pictures with recorded sound.

    “I think that’s the really interesting thing about that period,” says Melnick, “because it suggests that there were two different trajectories by which motion pictures could be exhibited, and they were soon competing to be part of the consumer experience.”

    Thomas Edison

     

    America’s First Movie Theater

    Although Edison was slow to embrace film projection, others weren’t. In 1895, Dickson left the Edison Company to help inventor Woodville Latham create his Eidoloscope projector. Then Dickson patented his own projector technology called the Mutoscope. When profits from Kinetoscope parlors began to wane, the Edison Company finally saw the light and bought the patent for a projector called the Phantascope, quickly renaming it the Edison Vitascope.

    In 1896, Edison learned that the Lumiere brothers were planning the first American exhibition of projected motion pictures at a rented theater in New York City.

    “Edison says, wait a second, we’ve got to beat them on this,” says Paul. “So he rents the Koster and Bial’s Music Hall, a popular Vaudeville theater, for the first public demonstration of the Vitascope.”

    For many film historians, April 23, 1896, was the birthday of the movie theater in America. Paying spectators crowded into Koster and Bial’s theater to marvel at a series of short motion pictures projected on a small, 20-foot by 12-foot white screen.

    An article in the next day’s The New York Times described the experience:

    “[A]n unusually bright light fell upon the screen. Then came into view two precious blonde young persons of the variety stage, in pink and blue dresses, doing the umbrella dance with commendable celerity. Their motions were all clearly defined. When they vanished, a view of an angry surf breaking on a sandy beach near a stone pier amazed the spectators. The waves tumbled in furiously and the foam of the breakers flew high in the air. So enthusiastic was the appreciation of the crowd long before this extraordinary exhibition was finished that vociferous cheering was heard.”

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    Movie Theaters in the Vaudeville Era

    Following the Vitascope’s successful debut, Vaudeville theaters essentially became the first movie theaters in America. At the turn of the 20th century, the Vaudeville variety show was the most popular form of mass entertainment.

    “There were no purpose-built motion picture theaters in 1896,” says Melnick, “so movies were typically shown as a segment of the Vaudeville program.”

    Many of the earliest motion pictures already featured Vaudeville performers—acrobats, slapstick comedians, “native” dances—so the new projection technology fit seamlessly in the typical Vaudeville program. Variety was the engine of Vaudeville, with new live acts taking the stage every 20 minutes. It made sense that the early American film industry would stick to the Vaudeville model, which was a hit with working-class audiences.

    General Photographic Agency
    The Marx Brothers, circa 1933. From left, Leonard or Chico, Herbert or Zeppo, Julius Henry or Groucho and Adolf or Harpo.

    “Every act or every short film had to be something different,” says Paul. “So if you had a comic film, then you would have a dramatic film. If you had a dramatic film, you would have a travelogue. If you had a travelogue, then you would have something about the wonders of science.”

    The term “feature film” was borrowed from Vaudeville, says Paul. In a typical Vaudeville show, the “feature” act was the biggest draw—perhaps the Marx Brothers or Harry Houdini—and performed second-to-last in the program. When motion pictures became popular enough to fill that prized slot, they were advertised as the “feature” event.

    “So the idea of a ‘feature film’ originally meant something of high quality,” says Paul, “and then slowly evolved to mean movies of a certain length.”

    Storefront Theaters and Nickelodeons

    The next evolution in American movie theaters was the rise of the storefront theaters in 1905. Vaudeville theaters were big venues designed for live performances, and a typical Vaudeville program ran for four hours. Storefront theaters essentially miniaturized the Vaudeville experience and made movies the main attraction.

    “A storefront theater is a makeshift theater that takes over an existing store (maybe a restaurant or a dance hall) on a city block,” says Paul. “There’s a small box office at the entryway, seating for between 200 and 300 people, and no stage at the front, just a screen.”

    The nickelodeon, popularized by Vaudeville impresario Harry Davis in Pittsburgh, Pennsylvania, was a storefront theater that charged five cents for a program of movies and live entertainment. A trip to the nickelodeon might include a sing-along (“A Bicycle Built for Two”), a comedian, a “lecture” by a traveling professor and several short movies.

    “The silent movie era was like many other periods of new technology—everyone was trying new things,” says Melnick. “Film exhibitors experimented and perfected their show, especially with regards to musical accompaniment and live performance. Every exhibitor was kind of a producer/artist/showman.”

    By 1910, there were more than 10,000 nickelodeon theaters in America and hundreds of short films in circulation. The popular five-cent theaters attracted more than 26 million Americans (20 percent of the total population), including a growing number of women and children.

    Welcome to the Movie Palace

    On April 12, 1914, an entirely new type of movie theater opened on Broadway in Manhattan. The Strand was America’s first “movie palace,” a luxuriously appointed, 3,000-seat theater designed for watching movies in comfort and style.

    Palaces like The Strand offered a moviegoing first—unobstructed views from every velvet-upholstered seat in the house. It was accomplished through the construction of massive, cantilevered balconies.

    “What cantilevering allowed were really big balconies without support columns,” says Paul. “The Strand held 1,500 people in the orchestra and another 1,500 in the balcony, and audiences actually found the balcony kind of thrilling.”

    Radio City Music Hall, still the largest indoor theater in the world, opened as a movie palace in 1933 with seating for nearly 6,000 patrons. During the Great Depression, Americans flocked to tens of thousands of movie palaces nationwide to escape the struggles of daily life.

    “Going to a movie palace—where ticket takers and ushers waited on you, where you had a beautiful bathroom and comfortable seats—offered an experience of being treated like royalty for people who toiled each day for others,” says Melnick, author of Hollywood’s Embassies: How Movie Theaters Projected American Power Around the World.

    At the movie palaces, feature films would typically run for a week and a really popular movie might be “held over” for a second week. But while researching his book, When Movies Were Theater, Paul learned that when a studio wanted to promote a particularly long, expensive feature, it would “pre-release” the movie in what were known as “extended run” theaters.

    Extended run theaters like the Astor in New York City were smaller spaces built for live theater. The Hollywood studios reserved these halls to charge higher prices for films before they were released to the wider public. For example, MGM showed its epic 1925 war film The Big Parade exclusively at the Astor for almost two years before distributing the movie at regular movie palaces.

  • John Cena returns to WrestleMania, set for title showdown against Cody Rhodes

    John Cena returns to WrestleMania, set for title showdown against Cody Rhodes

    John Cena is set to headline his final WrestleMania in a WWE Undisputed Championship match against Cody Rhodes after a dramatic victory in the mens Elimination Chamber match.

    The 16-time world champion clinched his spot at the grandest stage of them all by forcing longtime rival CM Punk to pass out in his signature STF submission hold.

    With his ticket to WrestleMania 41 in Las Vegas confirmed, John Cena stood face-to-face with Rhodes in a show of sportsmanship.

    The two shook hands, but the moment of mutual respect was short-lived as the unmistakable music of The Rock echoed through the arena.

    Accompanied by rapper Travis Scott, The Rock made his way to the ring, appearing to offer his backing to Rhodes.

    However, in a stunning turn of events, Rhodes defiantly rejected the Hollywood megastar, delivering an expletive-laden dismissal that sent shockwaves through the crowd.

    Just when it seemed tensions had peaked, John Cena made an unexpected move that turned the night on its head. Aligning himself with The Rock’s agenda, Cena blindsided Rhodes with a ruthless low blow. What followed was a brutal assault—Cena first striking Rhodes with a watch before smashing him with the Undisputed Championship belt. As the crowd erupted in disbelief, Cena used Rhodes’ tie to choke him out, sealing the betrayal.

    The onslaught didn’t end there. With Cena and Scott restraining Rhodes, The Rock unleashed vicious strikes with his signature weightlifting belt, leaving the champion bloodied and battered

    As the dust settled, the final image of the Elimination Chamber 2025 event was one for the ages— John Cena and The Rock standing tall, looking back at a fallen Rhodes.

    John Cena’s shocking betrayal has left the WWE Universe reeling, setting the stage for an explosive WrestleMania showdown.

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  • Full List: Odumodublvck, Ayra Starr, Mohbad jostle for top honours at 2024 Headies Awards

    Full List: Odumodublvck, Ayra Starr, Mohbad jostle for top honours at 2024 Headies Awards

    The 2024 Headies award is here, with the organisers on Wednesday, unveiling the much-anticipated nominations list for its 17th edition.

    This year’s lineup showcases a mix of both local and international artistes who have made outstanding contributions to the music industry over the past year.

    Leading the nominations is Tochukwu Ojogwu, popularly known as Odumodublvck, who secured an impressive five nominations. Following closely are Oyinkansola Aderibigbe, also known as Ayra Starr, and Crown Uzama, known as Shallipopi, each earning three nominations.

    Odumodublvck is also in contention for Best Collaboration, competing with Chike, Wizkid, Zlatan, Asa, and Tiwa Savage with two different entries.

    Notably, the late Ilerioluwa Aloba, fondly remembered as Mohbad, received three posthumous nominations, a testament to his lasting impact on the industry despite his death on September 12, 2023.

    Full list of nominees Headies 2024

    Music Video of the Year

    Charm – Rema, Oerlinks and Folarin Oludare

    Metaverse – Jyde Ajala

    Like Ice Spice – Perlinks and Emeka Shine Shine

    Ojapiano – Mattmax

    Egwu – Director Pink

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    Showa – TG Omori

    Na Money – Dammy Twitch

    Best Vocal Performance (Female)

    Ayra Star – Last Heartbreak Song

    Niniola – Level

    Simi – Stranger

    Liya – I’m Done

    Yemi Alade – Tomorrow

    Best Rap Single

    Cast – Odumodu Blvck and Shallipopi

    Blood on the dance floor – Bloody Civilian, Wale and Odumodu Blvck

    Hallelujah – Ladipoe, Rozzz, and Morello

    Canada – Magnito

    Ije Nwoke – Jeriq

    Rookie of the Year

    Zerry DL

    Taves

    Kaestyles

    Llona

    Best R&B single

    Qing Madi – Vision

    Jonny Drille – For You

    Simi – Stranger

    Tems – Burning

    Ayra Star – Last Heartbreak Song ft Giveon

    Songwriter of the Year

    Simisola Kosoko – Stranger (Simi)

    Chimamanda Pearl Chukwuma – Vision (Qing Madi)

    Michael Ajuma Attah – Can’t Breathe (Llona)

    Emoseh Khamofu – Family Meeting (Bloody Civilian)

    Fuayefika Maxwell – Stages of Life (Wizard Chan)

    Producer of the Year

    Sarz – Happiness

    London – Ozeba

    Magicsticks – Basquiat

    Rema/Producer X/Cubeats/Deatz/Klimperboy – Hehehe

    Dibs – Different Pattern

    Best Recording of the Year

    Tems – Burning

    Seyi Vibez – Different Pattern

    Burna Boy – Higher

    Ayra Star and Giveon – Last Heartbreak Song

    Sarz and Lojay – Billions

    Best Collaboration

    Emotions – Tiwa Savage ft Asa

    Blood on the dance floor – Odumodu Blvck, Bloody Civilian and Wale

    Cast – Shallipopi ft Odumodu Blvck

    Egwu – Chike ft Mohbad

    Ole – Qing Madi ft Bnxn

    Twe Twe remix – Kizz Daniel ft Davido

    IDK – Wizkid ft Zlatan

    Best Street-Hop Artiste

    Seyi Vibez – Different Patterns

    Ayo Maff – Dealer ft (Fire Boy)

    Shallipopi – Cast ft (Odumodu Blvck)

    Zhus Jdo – Johnbull

    Mohbad – Ask About me

    Afrobeats Single of the Year

    Big Big Things – Young John ft Kizz Daniel and Seyi Vibez

    Twe Twe remix – Kizz Daniel ft Davido

    Egwu – Chike ft Mohbad

    Remember – Asake

    Ogechi remix – Hyce, Boypee and Brown Joel ft Davido

    Big Baller – Flavour

    Lyricist On The Roll

    Mogadishu – A-Q

    Chocolate City Cypher – M.I Abaga

    Chocolate City Cypher – Blaqbonez

    Hallelujah – Ladipoe

    Efeleme – Alpha Ojini

    Best Inspirational Single

    Gratitude – Anendlessocean

    Worthy Of My Praise – Dunsin Oyekan Ft. Lawrence Oyor

    Good God 2 – Limoblaze Ft. Naomi Raine

    Particularly – Gaise Baba Ft. Tope ALABI

    You Do This One – Mercy Chinwo

  • Meet Natasha Osawaru, deputy majority leader of Edo Assembly

    Meet Natasha Osawaru, deputy majority leader of Edo Assembly

    Honorable Natasha Irobosa Osawaru, a Nigerian politician, currently serves as the Deputy Majority Leader of the Edo State House of Assembly.

    Born November 14, 1993, she is the daughter of Desmond Osawaru and Philomina Osawaru and the granddaughter of Chief Gabriel Osawaru Igbinedion, a prominent businessman and philanthropist.

    Osawaru, who represents the Egor constituency in the house, is a member of the Peoples Democratic Party (PDP).

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    ‘She had nothing to do with my marriage’ – 2Face defends Edo lawmaker, declares love for her

    Natasha Osawaru holds a law degree from Igbinedion University and a master’s degree in Film Production from Full Sail University in Florida.

    Natasha Osawaru, 2face links

    Recently, Natasha Osawaru has found herself in the media spotlight due to speculations surrounding her relationship with Nigerian music icon Innocent “2Baba” Idibia.

    Rumours of a romantic involvement surfaced amid reports of marital issues between 2Baba and his wife, Annie Idibia. However, Natasha, through her spokesperson Eseosa Okundia, dismissed these claims as false and unfounded.

    2face profess love

    Despite Natasha’s denial, 2Baba has openly expressed his admiration for her, clarifying that she played no role in his marital troubles.

    He further stated his intentions, saying, “Yes, I love her, she is amazing, she is cool, I want to marry her.”

  • Riich Mic Serenades Fans with Love-Infused Single ‘Ife Mi’

    Riich Mic Serenades Fans with Love-Infused Single ‘Ife Mi’

    Rising Nigerian singer and songwriter, Riich Mic, has released his highly anticipated love-themed single, Ife Mi. The groovy highlife tune, infused with captivating melodies and rich harmonies, is set to keep listeners on the dance floor. With its irresistible beat, lead guitar, and piano elements, Ife Mi showcases Riich Mic’s signature sound and musical artistry.

    Speaking on the inspiration behind the song, Riich Mic revealed, “Ife Mi is the Yoruba translation of ‘My Love.’ The song was actually written within an hour.” On the impact he envisions, he added, “Ife Mi is a career-changing and life-changing song for me. I also believe it will positively impact love lives, relationships, marriages, and even bonds among family and friends.”

    Fans can anticipate the official music video release on February 12, just in time for Valentine’s Day.

    Born Chinaza Michael Iroh in Ohafia, Abia State, Riich Mic is steadily carving a niche for himself in the Nigerian music industry. Now based in Abuja, the singer-songwriter is known for his compelling storytelling and dynamic vocal delivery.

    Drawing inspiration from legends like Fela Kuti, Lucky Dube, Tuface, and Olamide, Riich Mic developed his unique Afro Motivation sound—a fusion of Afrobeats, dancehall, and soul. His freestyles on social media quickly gained traction, earning him recognition in the industry.

    In 2024, he signed with Bankerz Muzik Management and released De Go, a breakthrough single that solidified his presence on the Afrobeat scene.

  • I paid N2.1m for BBL in 2022, says Layefa Ebitonmo, shares experience

    I paid N2.1m for BBL in 2022, says Layefa Ebitonmo, shares experience

    Lifestyle and beauty influencer Layefa Ebitonmo has shared her candid experience with undergoing a Brazilian Butt Lift (BBL), a popular cosmetic procedure designed to enhance body shape by transferring fat to the buttocks. The outspoken content creator detailed her journey in a video on her YouTube channel, addressing misconceptions, family reactions, and the recovery process.

    Ebitonmo revealed that she paid ₦2.1 million for her surgery in 2022. Despite initial concerns from loved ones, she remained resolute in her decision.

    “I didn’t really mind if my family didn’t want me to do it. It is something I wanted to do for myself. And I did it. It’s my decision. Am I a child?” she said, emphasizing her autonomy.

    She also shared emotional moments from her recovery, recalling how her mother was deeply worried about her well-being.

    “My mum used to call every day in the hospital. Every two seconds, she would ask, ‘Is she okay?’ When she called me and saw blood on my neck, she screamed ‘Jesus! I am coming to Lagos now.’”

    While acknowledging that the post-surgery experience can be uncomfortable, she debunked myths surrounding the procedure, particularly the belief that it affects fertility.

    “It’s a misconception that one won’t be able to have a child after doing BBL. That is the one thing I can say I did my research on.”

    Ebitonmo’s openness adds to the growing conversation around body enhancement procedures, personal choices, and societal perceptions of beauty.

  • Ex-minister, Uju Kennedy-Ohanenye, back in Nollywood with new movie ‘Hatred’

    Ex-minister, Uju Kennedy-Ohanenye, back in Nollywood with new movie ‘Hatred’

    Former Minister of Women Affairs, Uju Kennedy-Ohanenye, has made a comeback to Nollywood with her latest film, “Hatred”.

    The movie, which she produced, marks her official return to the industry after her stint in politics. Kennedy-Ohanenye was appointed as a minister by President Bola Tinubu on August 21, 2023, but was relieved of her duties on October 23, 2024, alongside four other cabinet members.

    Since leaving office, the 51-year-old has refocused on her passion for filmmaking, a craft she nurtured long before stepping into government.

    Announcing the release of “Hatred” on Wednesday via X, she shared a link to the film on Kenuj TV, her YouTube platform.

    Kennedy-Ohanenye is no stranger to Nollywood. She has previously starred in films such as ‘Saving My Marriage,’ ‘Hunting the Angel,’ ‘Royal Ploy,’ and ‘The Cow Girls,’ working alongside industry veterans like Segun Arinze, Ngozi Ezeonu, Linda Osifo and Francis Duru.

    Beyond acting, she is also a trained lawyer, entrepreneur and politician. In 2015, she joined the All Progressives Congress (APC) and made history as the first woman to declare a presidential ambition under the party in the 2023 elections before stepping down for Tinubu.

  • 50 Cent mocks Murder Inc. co-founder Irv Gotti’s death

    50 Cent mocks Murder Inc. co-founder Irv Gotti’s death

    Rapper, 50 Cent, aged 49, trolled his years-long rival Irv Gotti Wednesday after the Murder Inc. co-founder died at age 54.

    Read Also: Abubakar Aliyu makes history as 2nd general in Nigerian Army to jump from moving plane

    50 Cent shared a picture of himself smoking hookah, while sitting on a couch next to a tombstone that says “RIP”.

    Also, he had a second old red carpet picture of Gotti. He wrote: “I’m smoking on dat Gotti pack. Nah God bless him. LOL.”

    Gotti’s passing followed rumors he had suffered another stroke and brain bleed. He had a history of health issues, including diabetes.

    After news that Gotti was on life support first spread on social media, 50 Cent posted an Instagram that said, “Damn, I wanted him to see my new shows yo!”. He later deleted the post.

    Also, 50 Cent trolled the record executive in August 2024 after it was reported that Gotti had suffered a stroke.

    At the time, 50 Cent reportedly posted a photo of Gotti walking with a cane, and wrote: “Damn homie, in high school you was the man homie, WTF happened to you?”, referencing his 2002 song “Wanka.”

    He added, “I want Irv to get well, so he can have to watch my next wave LOL.”

    The feud

    50 Cent’s feud with Gotti began in the late 1990’s due to the rivalry between Murder Inc. and 50 Cent’s G-Unit Records.

    In 1999, 50 Cent’s close associate allegedly robbed Ja Rule, who was Murder Inc.’s then-leading artist.

    In March of the following year, 50 Cent was stabbed during a fight with Murder Inc. executives at the Hit Factory studio in New York.

    Rapper Black Child reportedly took responsibility for the stabbing later on.

    That May, 50 Cent was shot nine times outside his grandmother’s home in Queens. Investigators alleged that the attack was planned by drug lord Kenneth “Supreme” McGriff, who had ties to Gotti and Murder Inc.

    However, McGriff was never charged in connection with the shooting.

    The feud continued over the years, including when 50 Cent taunted Gotti for Nelly and Ashanti’s rekindled romance after Gotti claimed he was romantically involved with Ashanti. New York Post

  • How I am bridging denominational divides through music ministry – Saxophonist Dayo

    How I am bridging denominational divides through music ministry – Saxophonist Dayo

    Dayo Sax, a musician with a background in Electrical Engineering and Information Technology from the University of Lagos and the University of Bradford, is making waves in the Christian music scene through his initiative, STAMP (Success Through Abundant Music and Praise).

    His journey, which began in the Children’s Choir of his CAC church, has evolved from playing drums to mastering the saxophone in 2012, fueled by influences like Bukola Bekes and Tosin Bee, and formal training at Muson.

    He also credits mentorship from saxophonists Anu Asaoye, Imoleayo Balogun, and Olumide Alabi (Olujazz) for shaping his musical identity.

    “My musical roots run deep,” Dayo explains, recalling his early church choir experience.  He also performed at the 2024 Bradford African Festival of arts.

    Dayo’s vision for STAMP stems from his observation of a disconnect within the Christian music community.

    “Different denominations often struggle to connect musically,” he notes, highlighting the need for an interdenominational platform.

    Launched in 2018, STAMP aims to bridge these divides by creating an inclusive space where worshippers from various backgrounds can unite through music.

    “STAMP embraces all genres of music,” Dayo says, emphasizing its ability to cater to diverse tastes and create an atmosphere where participants feel “relaxed and focused in the presence of God.”

    The initiative has held several successful editions, each serving as a testament to his commitment to fostering unity.

    Dayo believes that “music can serve as a universal language, capable of breaking down barriers and fostering connections among people.”  STAMP events showcase a diverse range of musical talents and styles, encouraging collaboration among artists from various backgrounds.

    “This inclusivity not only enhances the richness of the musical experience but also reflects the core values of Christianity—love, acceptance, and community,” he explains.

    Beyond his work with STAMP, Dayo is also dedicated to nurturing emerging talents in the industry.

    “I am committed to nurturing emerging talents in the industry,” he states, highlighting his efforts to mentor young musicians and guide them in their artistic journeys.  He sees this mentorship as crucial for ensuring “that the future of Christian music is vibrant and diverse.”

    Dayo Sax’s story is one of personal passion, professional growth, and a vision for uniting the Christian community through the power of music.  He is not just a musician, but, as he puts it, a “catalyst for change.”

  • FranSax’s “Sound of Jubilee” is a groovy, smooth-sounding gospel medley

    FranSax’s “Sound of Jubilee” is a groovy, smooth-sounding gospel medley

    After his brilliant renditions of the classics “Can’t Help Falling In Love” by Elvis Presley and “A Thousand Years” by Christina Perri, with soulful video performances at the majestic King William Court at the University of Greenwich, FranSax is back to take you on a marathon of praises for the almighty God.

    Titled “Sound of Jubilee”, the 10 minutes 11 seconds song is a medley of praise songs. Leading with his saxophone, FranSax sings a series of gospel songs from America and Nigeria, thanking and exalting God for his kindness and mercy. He is backed by backup singers who re-echo the songs to the accompanying groovy instrumentals.

    The polyrhythmic pattern of the song is typical of the Nigerian Pentecostal church’s praises and worship, a moment of reflection and gratitude for the amazing things God has done and will do.

    Picture this: You’re in church, and FranSax gets you in the mood to sing the praises of God for what he has done for you, your friends, and your family. And, full of spirits, his music gets you on your knees to honour the great things God will do in your life and that of your friends and family, even without praying for those things. That’s how uplifting the “Sound Of Jubilee” is, because this year and years to come are yours to celebrate in the goodness of God.

    FranSax begins the song with “Friend of God” and “Lord, You’re Good” by the American gospel artist Israel Houghton. The former is to show his relationship with God; the latter is to portray the goodness of God.

    Being in the presence of God often takes away whatever sorrows and shame, sickness and pain when one trades them for the joy of the Lord Almighty.

    FranSax reminds one of this, in case one’s mind is burdened by them.

    “I’m trading my sorrow, I’m trading my pain, I’m trading my sorrows, and I’m trading my shame / And I’m laying it down for the joy of the Lord the backups sing, as FranSax covers “Trading My Sorrows (Yes Lord)” by the American gospel singer, Darryl Evans.

    FranSax and his backup singers coast to the flowing beats while singing Tim Godfrey’s “Gbemisoke” and the Nigerian gospel staple, “Who Has The Final Say (Jehovah Has The Final Say)” before closing the medley with the Nigerian long-standing gospel song, “You’re Lifted Up (Above Other gods)”.

    With this new offering, FranSax shows that he is a versatile saxophonist who can sing about the matter of hearts that will make the walls and pillars of a historical building like King William Court at the University of Greenwich fill with joy and can still send sweet incense of praises to God in heaven for continuous showers of blessing.

    Check the song out on Spotify, Apple Music, YouTube, and other streaming platforms and immerse yourself in the presence of God while basking in his reflection and kindness.