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Jos, end times and other matters in Umar Turaki’s ‘Every Drop of Blood Is Red’ – Olukorede S Yishau
Umar Turaki, Every Drop of Blood Is Red, Little A, 2024, 300 pages
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Fight scenes are never easy to film and Nollywood films have been criticised for opting for karate style fight unlike the Nigerian equivalent which involves a lot of grabbing and throwing, which is why it's called “gidigbo” (Yoruba traditional wrestling). Suspicion also toes this path, but it executes these scenes well as the fight sequences are well choreographed — just what you'd expect from an action film
The haphazard storytelling further limits the acting performances as the actors have little to work with. While the cast make an earnest attempt to bring depth to their roles, the character development feels shallow with characters' motivations and backstories barely scratched.
Tòkunbò is written as a thriller and action movie. Ramsey Nouah’s ambitions as director are not very grand. It is a trite storyline of the regular Omo Eko, whose creed is to simply make it to see another day, but then struck by misfortune, in Tòkunbò’s case, his son’s heart disease, as he faces a dilemma from which finding a way out becomes a double-edged sword that leads to crime.
Morayo is just a nominal dedication with erratic lyrics, jumping between different ideas, moods, and styles. It feels fragmented, thematically reflecting an artist at a crossroads. It oscillates between Wizkid’s penchant for romantic, mellow tendencies and upbeat, danceable tracks. The result is a sonically rich yet thematically inconsistent experience
One remarkable attribute of Fireboy is his ability to blend sublime lyrics with the mundane (Lamba). Throughout the album the lyrics poetically explore the complexities of romantic relationships with a touch of levity. The album is well-sequenced from the opening track to the end, but the smooth transition from “obaa sima” to “need me” is simple yet beautiful.
We live in an era defined by artistic collaboration that defy borders. It’s understandable for an artist to seek international collaborations to broaden his horizons but some of the guest artists on Lungu Boy, though talented on their own, can’t seem to connect with Asake's Lagos street life, especially the Isalẹ Èkó street culture
Things take a scary turn from there onwards and the world Turaki plunges us into is no longer familiar. The things that occur are the sort that make us scream and wonder where we are being led. Though we still see Jos and its streets, churches and other landmarks, the goings on aren’t what we are accustomed to.
The opening chapters are thick with blood, dust, and sweat, evoking all the violent imagery these elements often conjure. They suggest a dark, complex narrative, one whose conclusion may be fraught with complications. Pain and death are hinted at, drawing the reader in with an irresistible pull to uncover more.
There is a lot of loss recorded in this book, which is very telling of how this desire and longing to hold on to something we cannot control and the loss of such things causes us to spiral in different directions and to find stability only when the gap is filled. At the core of this book is the fight for the truth and all the obstacles that stand in the way of that
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