CREATING WITH DECISIONS - Elvira Jordan Good Morning Beloved! Let us paint a scenario… So there’s a man going on his way to work on a Monday morning. He goes to board a public bus going to his destination and was accosted by a street tout. They get into a heated altercation that led the tout to strike the man with a blow or a slap. The man who is dressed for work has two decisions to make. He can either drop his laptop bag (or keep it strapped) to teach the tout a lesson by showcasing some of the martial arts skills he has been practicing for decades now. He can also just shrug off the anger and decide to go on his way, to meet up with his daily work and get along with his life. Let us assume he picks the former and strikes the tout with a one of his moves… I mean the one to the throat that will restrict the receiver’s air flow and breathing for a couple of minutes. The tout passes out and hits the ground hard breaking his head. Chaos arises. People gather. The man who was fully dresse...
Before Netflix… before YouTube… before streaming and smart TVs… there was a sound every Nigerian remembers — the click, the whirr, the faint static of a VHS tape sliding into a VCR. That sound was the beginning of a revolution. In the early 1990s, Nigeria’s cinema culture had faded. Film reels were expensive, movie theaters were disappearing, and foreign films dominated the screens. But Nigerians still hungered for stories that reflected their own lives — their languages, their fears, their humor, and their dreams. Then in 1992, everything changed. A low-budget film released straight to VHS, Living in Bondage , proved that local stories could captivate massive audiences. Distributed through markets and video rental shops, it became a cultural phenomenon and sparked what we now call Nollywood . The formula was simple but powerful: tell relatable stories, use available technology, and take films directly to the people. Living rooms became cinemas. Street corners became rental ...