By Augustine Togonu-Bickersteth

Sir: I write to you as a fellow admirer of Nigeria’s boundless cultural wealth, and more importantly, to appeal to the distinct heritage you carry as a proud “Gregorian.” Your alma mater, Saint Gregory’s College, Lagos, has historically served as a sanctuary and incubator for extraordinary musical genius.

It is the institution that helped birth the legendary rock rhythms of Ofeghe, nurtured the foundational artistry of Sir Victor Uwaifo of Joromi fame, and propelled the sensational reggae-pop rhythms of Blakky.

Given this rich lineage of Gregorian Saints who shaped the soundtrack of a nation, the creative community holds great expectations for your tenure at the Central Bank of Nigeria. We eagerly anticipate how the apex bank might channel this innate appreciation for the arts into structural economic transformation.

This correspondence serves to draw your attention to the critical role of our veteran disc jockeys and entertainment pioneers, particularly those rooted in Ibadan—the historic political nerve centre of the Black world and the foundational cultural capital of Nigeria.

Ibadan’s airwaves and dance floors laid the groundwork for modern broadcasting and music curation across West Africa, driven by trailblazing figures who deserve national recognition and strategic institutional support.

Among these legends are pioneers such as Kunle Job, affectionately known as “KJ, the CP” (The Crowd Puller), whose mastery of the turntables defined an era. We remember the exceptional contributions of Sola Adewunmi, the “Mellow Fellow,” whose seamless delivery captivated audiences, and Femi Popoola, the “Master of Waves” and beloved “Alaamu Man.” Alongside them stands Femi Mike Ogundele and Dickson Akingbade, a visionary jazz producer and presenter.

Mr. Governor, the revival of jazz music presents a significant, untapped economic frontier for Nigeria.

There is a clear correlation between a thriving jazz culture and robust macroeconomic affluence, as demonstrated by leading global economies such as the United States, the United Kingdom, Japan, South Korea, the Netherlands, and Qatar. Jazz demands high-fidelity production, creates sophisticated tourism ecosystems, and fosters international cultural diplomacy.

Ramping up infrastructure for jazz and premium live music venues in Nigeria would generate high-value employment and stimulate urban hospitality.

To chart a sustainable path forward for the creative economy, I strongly urge the Central Bank of Nigeria to convene a roundtable with the foundational architects of our entertainment ecosystem. Central to this dialogue must be Paul Wale Ademowo, a veteran entertainment journalist and an indisputable pillar of the Nigerian entertainment industry.

Furthermore, strategic consultations should include visionary industry leaders like Gregory Odutayo of Royal Roots—rightfully dubbed “Mr. Television” for his monumental contributions to Nigerian broadcasting—and Otunba Tunji Sotimirin. An Associate Professor, brilliant humorist, satirist, musician, and master of ceremonies, Sotimirin represents Africa’s profound, intellectual response to global icons like Eddie Murphy.

The Central Bank of Nigeria has an unprecedented opportunity to drive fiscal policies, creative industry financing initiatives, and capacity-building funds that honour our pioneers while securing the future of our youth.

By engaging these veteran minds, the CBN can design interventions that turn Nigeria’s unmatched cultural capital into a highly sustainable revenue engine.

As a Gregorian at the helm of our financial fortunes, we trust you will look back at the melodies of Saint Gregory’s and look forward to the economic symphony you can orchestrate for Nigeria’s creative industry.

Augustine Togonu-Bickersteth wrote from London, England.