To many, the name Eunice Olumide MBE will need no introduction. Over the years, the multi-faceted creative has continuously forged a legacy critiquing, reshaping, advocating and creating space for diversity within the UK’s complex creative scene as an activist, rapper, actress, and Scotland’s first Black supermodel.
For her latest act, the Scottish-Nigerian steps behind the camera to place a much-needed lens on the history of UK hip-hop in her documentary, Secret Lives: The Untold Story Of British Hip-Hop. The film highlights the pioneering work of the underground rap scene and focuses on the impact of the evolution of technology as well as the role of accents and dialects in an artist’s success, with cameos from the likes of Carleen Desozer, Cristaleyy, Natalie Illumine, Klashnekoff, Blak Twang, Fumez The Engineer, Angus Batey and more.
We caught up with Eunice Olumide MBE to discuss the inspiration behind her directorial debut, navigating multiple creative disciplines, being a woman in hip-hop, and more.
Rolling Stone Africa: Most of your career has been spent in front of the camera. What inspired you to get behind it?
Eunice Olumide: I always wanted to be behind the camera but, unfortunately—since the media has typically and originally been dominated by the Western canon—African people have always been placed in front of the lens. I think that when it comes to Black women specifically, this is even more of a multifaceted problem; we make up such a tiny percentage of directors and producers in the world globally. This means that more than 99% of the images you see of Black women are not created, produced, or directed by Black women.
I always felt like there was no other option, and so I decided to get in front of the camera in order to create a career in the industry that I loved. The world is really changing and there are clear opportunities for diversity now. In the time and space that I grew up in, this was not possible. I’m greatly inspired by Nigeria and Africa and our ability to overcome all obstacles and transcend the apparent lack of opportunity. We’re so talented.
Why was it important for you to have the narrative of Secret Lives for your directorial debut?
I decided to make this film because I have been active in the UK hip-hop scene since I was 15 years old. Instead of making a film about current artists, I wanted to make a film about the pioneers—people who paved the way in the ‘70s and ‘80s, and created the blueprint for younger generations. A quote by Marcus Garvey goes, “A people without the knowledge of their past history and culture is like a tree without roots.” I think that as a consequence of the colonisation of Africa, we have learned to become dislocated from our history.
We are now in the aftermath of 50 years of hip-hop, and many things have happened. You know, it started out as being about police incarceration, brutality, and the way that the African diaspora community had been mistreated. It was a tonic; it was a medicine for the community and an opportunity for us to mobilise and to come together in unity and to fight the power for justice. I don’t judge, but unfortunately, music in my generation is almost exclusively about hypersexualizing Black women. I don’t think that is what we need, and that’s why I made this film: to create a historical archive for our community.
What are some of your earliest memories of rap music and how did they shape the artist you are today?
My earliest memories of rap are pretty intense, but also amazing. I started off singing in church and I started singing because of my older brother. The area in the UK that I grew up in was very bad. People were suffering from really serious addictions and mental health issues. So music, for me, was something that I did literally to help people. All the music I made in my youth was extremely political and very much about community and trying to help people navigate serious situations. I was very, very blessed. I spent many years just running youth groups, and I got to work with some of the most remarkable people not only in the history of hip-hop but also in reggae music because I was a conscious artist. It really dictated the direction of my career.
You have an interesting quote which goes, “I chose to keep my career as a rapper secret as I believe in the concept of talent first, looks second.” Can you expand on that?
As a rapper, I released my first single back in 2005 called “Halal The Beef”. My group, NorthernXposure, quickly rose to a level of stardom. I was also a part of Banana Klan with Roots Manuva, and Mud Family with Skinnyman. I realised at a very young age that hip-hop was highly exploitative of women. When I began touring with a lot of A-list acts from the States and the UK, I saw a lot of women in dangerous situations. This made me decide to never become a commercial hip-hop artist, and when I did rap, I was going to use pseudonyms. My current one is LOTOS, which means Last Of The Old School. Whenever I performed in public, I’d make sure to be completely covered. I’d wear sunglasses, a scarf, baggy clothes, and do anything I could do to make myself less physically attractive.
I also chose to keep my life in music a secret because I was simultaneously in the world of high fashion and didn’t want my appearance or the fact that I worked in fashion to take away from the music. I wanted people to focus on what I was saying and not my looks. I feel like as women, too much focus is placed on how we look on the outside, as opposed to the contents of our minds, our hearts, our souls. It’s sad that I had to hide who I was, and my beauty, but it led me on the right path and protected me. I went on to tour with Damien Marley, Nas, Mos Def, Lauryn Hill, Talib Kweli, Ruff Ryders, Wu-Tang Clan, and I have never stopped releasing music… This is the first time I’ve talked about this publicly.
Why do you think that this story needed to be told at this specific point in time?
I had to make the film now and tell my story because I just had my first baby, and I need to do what I can to protect her by creating a better world. In fact, I was editing and finishing this film while I was pregnant. It’s time to be truthful, courageous, and bold. I think people in general, throughout the world, need significant leadership and artists have always been at the forefront of that by creating movements that change the world.
Congratulations to you! I say that because you entered so many new phases of your life all at once. Did you find any of it daunting?
Everything in life that’s worthwhile and contributes significantly to the world is always going to be daunting. Doing anything that you can potentially fail at is daunting. But without having that compassion, love, patience, resilience, perseverance and dedication, you will never try. If you never try, then you’ll live your life regretting it.
As a multifaceted creative, what is the ethos at the root of all your creative pursuits?
I think the core of my work is about integrity, authenticity, originality and social responsibility. I really don’t see myself as someone who does multiple things, though I understand it’s easier for people on the outside to perceive it in that way. I’m just doing me in different circumstances and situations. I feel like everything I do is a natural progression or is operating on a continuum as opposed to this kind of modern philosophy of things starting and stopping. I have often been described as an alchemist or maverick, which is okay with me.
What I would say is that I work better in situations where I’m not held in one discipline. I like to feel free. I don’t want to feel like I’m a slave to anything or anyone besides God, my mum, and the pursuit of kindness, righteousness, and greatness. However, one thing I always say to young people is that you’re better doing one thing and doing it brilliantly, rather than trying to do absolutely everything. Everything you do needs to be as good as your peers, minimally, if not supersede them.
What do you hope viewers take away from this documentary?
The main thing I want viewers to take away from watching the film is that African people are not monolithic and cultural appropriation plays a large role in the way that we’re represented in film and television. It’s really important for us to be the author of our own representation, and of our own destiny.
‘Secret Lives’ will be screened at BAFTA Piccadilly GFT on October 29 and Picture House on October 30.
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