Imruh Bakari

Before Thursday 25th December 2014 the name Azealia Banks meant absolutely nothing to me. My moment of awareness arrived while browsing through The Guardian’s online pages, a headline ‘Iggy Azalea, Azealia Banks and hip-hop's appropriation problem’[1] caught my attention.

Wole Soyinka’s ‘attack’ on the BBC in response to the portrayal of Lagos in the three-part television documentary Welcome to Lagos has been widely reported.