Nigeria From Top To Bottom Song Mp3 Download
Download https://tinurll.com/2xUJcW
The chorus of the song emphasizes the need for a man to "buy me bottom belle," which translates to buying the singer expensive items like designer clothes, jewelry, and other luxurious things. The singer believes that such material possessions can make her happy and "coolu her heart." There is also a reference to the Nigerian nationalist and politician, Nnamdi Azikiwe, in the chorus, which could be interpreted as a nod to Nigerian patriotism or to highlight the contrast between the elite and common people in Nigeria.
Most blogs embed links and widgets from Apple Music, Spotify, Audiomack, Youtube and other music streaming platforms. A typical music blog visitor would play or click the streaming links to listen, which helps increase your plays or referrals. These actions add to the bottom line, which is to help you make money on these streaming platforms. Is your music on Apple Music and Spotify, if not you need to get it on via a music distribution company?
One of the most interesting fun facts that Tiwa Savage revealed when she had a Genius interview for her song ______was that the song was actually written by Olamide. According to Tiwa Savage, most of the song was already done before she even heard it. However, she revealed that she added herself to it and changed some things, but for the most part, the record was already ready from the brilliant mind that is Olamide.
This is an ethnographic study which documents the experiences of victims of violent conflicts, who used dance, music and drama to negotiate their wellbeing, and build resilience and hope. The culturally familiar context used by the victims is a bottom-up approach that generates positive energies enabling them to attain emotional growth and psychological integration; including social skills with which they imagine and work towards a better future. The study found out that the farmers/herders conflict which has plagued the Daudu community and environs perennially from 2011 to date, is characterized by incidents of brutal killings, rape, displacements, destruction of livelihoods and heritage, and this situation challenges the cultural practices and expressions of the people, and by extension the praxis for cultural sustainability. The performances studied are those found amongst the displaced persons who perform for themselves and also to share and communicate their experiences and mobilise for help. This creative endeavour of the displaced persons, which is a consequence of the farmers/herders conflict, targets to tell the story of the displaced and helps in managing their traumatic experiences.
By 2007, Afrobeats was in its second seismic shift. The first was the breakdown of Boy Bands like Remedies, Plantashun Boys, Def O\u2019Clan and the emergence of successful solo acts like Eedris Abdulkareem, Azadus and 2Face, under the watch of record label, Kennis music. The second seismic shift was the arrival of new stars with little or no affiliation with the first generation, and representative of this cohort is Timaya, whose first and second albums were produced solely by K-Solo. The sonic inclusion of dancehall into Afrobeats garnered popularity at this time and Timaya, the eternal presence in Afrobeats, has continued in this fashion. Wande Coal arrived in this cohort, poised to be its shining star. His debut album proved this with its critical and commercial successes. Back then, in the watering holes at Ile-Ife and at parties, DJs had a joker album they could play from top to bottom without getting side-eyes from the dance floor: Mushin to Mo Hits.
Mushin to Mo Hits was lush, sultry, and subversive dancehall with plunking percussion, Wande Coal\u2019s restive tenor, and cheeky songwriting. His pen hardly ever wavered, matching Don Jazzy\u2019s sonic instincts. He could start a song at a giggling bottom and find a way to still reflect on the sociocultural difficulties of Nigeria, albeit lightheartedly.
Younger crooners like Omah Lay, Fireboy DML, Joeboy, Rema and Ruger can trace their ancestry to Wande Coal. Wande Coal\u2019s creative signature lurks over Fireboy\u2019s standout song, \u201CPeru\u201D. Wande Coal\u2019s legacy is secure but what about the staggering discography? What about the money bag? Is he eating well from the proceeds of his creativity? Does Wande Coal\u2019s accomplishment pale compared to his true contemporary, Timaya?
The return of Mushin to Mo Hits to our listening consciousness is amazing for people like me who traffic in nostalgia. But to the younger ones who have heard glowing reviews about Wande Coal\u2019s vocal pyrotechnics at its best on the R2Bee\u2019s collaboration, \u201CKiss Your Hand\u201D medley, this album skips, ironically, on the song \u201CJehovah.\u201D This suggests that a ripped copy of this album, presumably from one of those Alaba CDs, finessed into becoming Spotify\u2019s master copy. 5376163bf9