Ameer Ali ← Index

Writing

Reporting · Zashi, Vol. 2
Nigeria in Nippon

The untold story of the African diaspora in Japan, how oil, migration, and the Yakuza drew Nigerian men to the margins of Tokyo nightlife.

The story dates back to the 1980s, when crude oil was Nigeria's main export. Oil prices declined sharply, and the result was a mass exodus of educated Nigerians to countries across the globe. It was during this same period that Japan experienced an economic boom and a labor shortage. Work could be found easily in the factories. After the boom tapered off, the jobs dried up, leaving many Nigerians stranded far from home. The Yakuza recognized an opportunity and began using Africans as hired muscle in street-level positions. We can easily blame the immigrants, lest we forget the Yakuza were the initiators, turning a game of international monopoly into their own chessboard.

Excerpt · Words by Ameer Ali · Zashi Magazine, Vol. 2 (2024) · Full story on request
Interview · Zashi, Vol. 3
V. Vale

A conversation with the founder of Search & Destroy and RE/Search Publications, on punk, Warhol, and refusing to separate art from life.

Ameer

Warhol's Interview Magazine was a major inspiration for Search and Destroy?

Vale

Hell yeah, my life. Search and Destroy and Re/Search is my life. I was also a huge Warhol fan. He said everything is art and there's no such thing as bad art, he's full of liberating ideas. I always thought I was a terrible writer, and then I read Interview Magazine. I said, God, this is terrible. He included every "um" and "uh" and mistake. I said, oh, I can do better than Warhol. And so I started Search and Destroy.

Ameer

Pretty amazing that he inadvertently inspired you by not editing his interviews. I know he became somewhat of a mentor, you have some photos with him in "Underground Living."

Vale

Yeah, yeah, you've done your homework.

Excerpt · Words by Ameer Ali · Zashi Magazine, Vol. 3 (2025) · Full interview on request
Essay · Zashi, Vol. 3
"Nostalgia," "Opioids"

On hype-cycle nostalgia as addiction, how a generation came to crave the wanting itself, not the thing.

What we're watching now is the resurgence of the swag era not as fashion, but as simulacrum. French philosopher Jean Baudrillard described a simulacrum as an image that no longer refers to anything real, only to itself. In 2025, a Supreme tee with Carti on it doesn't represent the same thing, or even a different subculture. It represents the latent memory of wanting the original versions. TikTok doesn't chase a drop; they chase the aesthetic of chasing a drop in 2012.

Excerpt · Words by Ameer Ali · Zashi Magazine, Vol. 3 (2025) · Full essay on request