Singer Peter Okoye has stirred online debate after revealing an encounter with a waitress in the United States who called him out for tipping $60 after spending $1,000 on a meal.
The waitress, who served him during his visit, reportedly sent a direct message describing his tip as “ridiculous.”
Okoye, surprised by the message, shared a screenshot of it on his Instagram story, expressing disbelief at what he described as an act of entitlement.
“Sometimes, eh, dis oyinbos na them no get sense. Una dey craze for this Yankee aswear. For my own money again?” he wrote.
The post quickly went viral, sparking mixed reactions. While many defended Okoye, noting that a $60 tip was still reasonable, others pointed out that tipping culture in the U.S. typically expects gratuities between 15 and 20 percent of the bill.
Afrobeats singer Iyanya has appealed for greater empathy toward celebrities, especially men, who face intense pressure under the spotlight.
In a post on X, the singer reminded fans that public figures are human beings with emotions and personal battles, despite the glamour associated with fame.
“We need to understand that celebs are humans with deep feelings and struggles like everyone else. Beyond the media glamorisation of their lives is a person yearning to just be human,” he wrote.
Iyanya added that male celebrities, in particular, often endure the burden of concealing their vulnerabilities to meet public expectations of strength and composure.
“For male celebrities, perhaps there may be an even deeper level of struggle to come back up when one has hit a low — because men are wired to be stoic, not show vulnerability, not ask for help, or they’d be considered weak,” he added.
A new kid on the Nigerian musical block named Bolu The Rapper has taken centre stage saying he is inspired by Olamide Baddoo.
Armed with a six (6) tracks album released under Roppongi Records, Bolu The Rapper seems to have so much musical promise.
The 18 year-old, who just graduated from high school, noted that he comes in the mould of Dagrin, Mohbad and Olamide all in one and also is sure to go places.
Born Boluwatife Oluwafemi Moses, Bolu The Rapper came into the spotlight after winning a talent competition organised by Oshodi, Lagos- based entertainment company and held at the famous Roppongi Bar and Lounge, Oshodi, Lagos with a recording contract for the winner.
Already, a six tracks EP titled Wotilawo has been released on music platforms including youtube
A hot single titled Benz is bouncing off the EP and has become a serenade in Oshodi, Lagos.
In an exclusive chat with The Nation, the Kwara State-born actor opens up about his rise and sacrifices in the Nigerian creative industry.
“I developed a passion for acting from a young age,” Mr. EMMY began.
Continuing, the Federal Polytechnic, Offa graduate said, “While studying film and multimedia production as a mass communication student, I realized that acting wasn’t just a hobby, it was my true calling. I wanted to use my craft to inspire, educate, and entertain audiences both in Nigeria and beyond.”
His first major break came during his final year in school when he featured in a student film project. But his first professional role in Yoruba Nollywood came through a friend and coursemate, Kabir aka Cause Trouble.
“The biggest sacrifice has been time, finances, and comfort. I’ve worked long hours, travelled far for auditions, and acted without pay just to gain experience. But every sacrifice has contributed to the person and professional I am today,” he said on his sojourn.
Speaking on his new film project titled, ‘Emmy Striker,’ the actor, who draws inspiration from two of Nollywood’s finest, Muyiwa Ademol and Kunle Afolayan said the movie explores youth empowerment and social values.
“I want to tell more inspiring African stories and eventually collaborate with international filmmakers to take Nigerian storytelling to the global stage,” he revealed.
Mr. EMMY has featured in numerous Yoruba productions, including ‘Labake Eleyin Oro’, ‘Eemo Niletura’, ‘Irawo Eda’, ‘Oloja Oru’, ‘Orisa Orisun’, ‘Omi Aro’, and ‘Elenini’.
He has also appeared in several short films and web series, expanding his reach through YouTube and digital platforms.
Nigerian actor, production manager and singer, Oluwatobiloba Abraham, aka Tee Famous, has revealed how an unexpected twist on a movie set ignited his journey into music.
Speaking on a recent podcast with actress Biola Adebayo, Tee Famous recounted how he was originally handling production on a film that featured a musical performance meant for popular actor-singer Gabriel Afolayan. However, when Afolayan could not make the shoot, the responsibility fell on him.
“There’s this scene where the character had to sing, and the plan was for Gabriel Afolayan to take the role since he’s also a musician. I was just meant to play his friend in the film. But when he wasn’t available, the team suggested another colleague, Don Yayo, to fill in. Unfortunately, it didn’t work out at the studio. Then they turned to me,” he explained.
Reluctant at first, Tee Famous eventually recorded the song, and to his surprise, the performance earned him wide praise.
“I didn’t want to do it initially, but they insisted. I was really nervous because I thought people would mock me. Instead, I got a lot of positive reviews, and that changed everything. From that point, I developed genuine interest in music,” he said.
Since then, Tee Famous has continued to balance his career in film with his passion for music, gradually carving a niche for himself as an all-round entertainer.
Judith Audu’s film production outfit has joined forces with Switch Visual Productions to kick off production on the female-led Afrobeats feature, ‘EVI.’
Written and directed by award-winning filmmaker Uyoyou Adia, who is famous for the films, ‘Hey You,’ and ‘Casa De Novia,’ the project is slated for release in the second quarter of 2026.
The film follows the turbulent journey of Evi-Oghene Donalds (Evi), a gifted but arrogant music star whose world collapses after her record label cuts ties without compensation. Stripped of fame, fortune and privilege, Evi must confront the harsh realities of the music industry. With the support of her loyal best friend and a troubled manager, she fights to reclaim her voice and rebuild her identity.
According to Judith Audu, the collaboration marks a bold step in Nollywood storytelling, shining a dramatic light on the world of Afrobeats and the untold struggles of women in the music industry. It also highlights the rise of women leading Nollywood’s creative frontlines.
“This is for every woman who’s ever been told to shrink herself just to fit in,” said Audu. “EVI is a bold, unapologetic story that proves women can rise above challenges and thrive on their own terms. We believe it will strike a chord with audiences everywhere.”
Director of ‘Evi,’ Adia said: “When I write or direct, I want stories that people can feel in their hearts. This is not just about music, but about survival and second chances. Many artists, especially women, go through these struggles in silence. With this film, we want our audience to feel inspired by Evi’s journey.”
Ebenezer Olaolu Mabinuori, popularly known as Ebonny Musik, is emerging as one of the defining voices of Afro-urban music.
Originally from Abeokuta in Ogun State, Ebonny represents a generation of Nigerian artists whose musical journeys are shaped by deep cultural roots and a global outlook.
Growing up in the bustling city of Lagos, music surrounded Ebonny from an early age. From the soulful sounds of Highlife to traditional Yoruba rhythms, Fuji, and the new wave of Afrobeats, he found inspiration in the diversity of Nigeria’s sonic landscape. These early influences would go on to form the backbone of his sound—a hybrid style that captures the spirit of the streets while also speaking to the soul. Two musical icons in particular helped shape his path: Fela Anikulapo Kuti and Wizkid. Fela’s uncompromising artistry and bold political messaging taught Ebonny the power of music as a tool for storytelling and activism, while Wizkid’s global rise proved that Nigerian music could resonate far beyond the country’s borders.
As Ebonny developed his craft, he began attracting the attention of leading producers both at home and abroad. His collaborations read like a who’s who of Afrobeat production, including Phazehop (Bolaji Williams), a Grammy-nominated producer known for his innovative approach to Afro-fusion; D’Tunes, a multiple award-winner and one of the driving forces behind some of Nigeria’s biggest musical exports; Indomix, a highly respected engineer whose name is synonymous with sound quality in the Nigerian music scene; and Christian Jude, a UK-based producer whose influence has helped refine Ebonny’s Afro-urban aesthetic.
These partnerships have been key in shaping Ebonny Musik’s growing discography, which includes standout tracks such as Feelings featuring D’Tunes, Whine 4 Me, Good Days Bad Days, Sweetest and One Life, both featuring Christian Jude.
Many of these songs appear on his Unstoppable EP, a project that encapsulates his ability to fuse infectious rhythms with thoughtful songwriting.
Beyond the music, Ebonny Musik is fast becoming a cultural bridge between Nigeria and the United Kingdom.
Nollywood actors Chinedu Ikedieze, Uche Elendu, and Grace Amah have applauded the visionary CEO of Akwaamaka Music, High Chief Stanley Obodoagwu over the newly launched expansive music, photography, and content creation studio.
Situated in Festac Town, Lagos, the grand opening drew a distinguished crowd of Nollywood celebrities, industry professionals, and media.
Veteran actor Chinedu Ikedieze praised the initiative, stating, “What High Chief Obodoagwu has done with Akwaamaka Studio is commendable. It’s a huge step toward professionalizing our industry’s infrastructure and providing a standard that our talent truly deserves. They have virtually everything here; you can shoot an entire movie in one location. The quality, the design, the nature-themed sets… it’s out of this world. Akwaamaka brought nature to life, and for filmmakers, this is going to cut costs significantly.”
Supporting this sentiment, actress Uche Elendu added, “This new studio is exactly what Festac and the wider Lagos creative community needed. It is a one-stop-shop for high-quality production, and I believe it will be instrumental in fostering the next wave of creative talent.”
Speaking on the idea behind the new venture, High Chief Obodoagwu highlighted a gap in the local industry.
“I have visited various studios across Lagos and observed a noticeable lack of internationally competitive standards,” he stated. “My decision to launch Akwaamaka Studio stems from a commitment to elevate the industry. We are creating a multipurpose hub designed to meet the holistic needs of the entertainment sector—serving filmmakers, music producers, recording artists, content creators, and individuals seeking world-class facilities. This is the best studio in Nigeria. I can bet that.”
The studio is poised to become a central creative engine for the entertainment community. The event also featured a captivating performance by one of Akwaamaka Music’s rising stars, Kingsley Ifeanyi Adaoje aka Spenta, who entertained the audience with tracks from his latest EP, Roll My Dice.
For talented actor, Kalu Ikeagwu, the message and value of the script are more important than the budget of the film. A complete actor with so many titles to his name, Ikeagwu opens up about his journey in the Nollywood industry, sharing the challenges, lessons, and experiences that have shaped his career. He highlights how a constructive upbringing has shaped his way of life. In this interview with Entertainment Editor GBENGA BADA, he also speaks about his most challenging role so far.
‘M sure you get a lot of scripts and offers. How do you decide which of them to take?
Before anything else, I read the script. From what I learned in school, whatever movie you do is supposed to inform, educate, and entertain at the same time. I didn’t really take it that seriously until one day, I think, when my mom came to visit me. When I was seeing her off at the airport, she saw some people who were like, “Ah, can I take a picture? Can I sign an autograph?” I never really told them what I was doing. So she was like, “Ah, this acting you went to do, it’s as if something is coming out of it. When next you’re coming to visit, bring one of your movies so we can watch.”
When I went to visit next, my brothers were there and everything. During the movie, it got to a point where I had a scene with Ini Edo, and we had to kiss. I completely forgot that scene was there because I had looked for the safest movie I could find. As the scene was about to start, I was like, “Oh, this scene is coming! Sweat was running down from my armpits, and I just started retreating. My brothers already knew what was coming, so they said, “Ah, Mommy, where is this your son going? What is he doing?” I disappeared from that place, and I looked at myself and thought, “I’m not a small boy anymore; why am I so nervous around my mom?”
It dawned on me that the training your parents give you never leaves you. Though it wasn’t a bad movie, it just made me realise I would never take part in a film my mother can’t watch. My dad is late, so that one is different. I think that’s the main thing that really inspires me to make sure I read the scripts of movies I appear in. I don’t care how much you’re paying me or how big the budget is; the message is always the most important.
Are you ever going to step out of your calm persona of doing family-friendly films, perhaps an action role or a character very different from the calm persona we often see on screen?
I had a shot at that in Cheta’M. In it, people hated my gut. It was an English/Igbo series. I played three different characters all in the same body, so my body was inhabited by different spirits and stuff like that, and one was really evil. I enjoyed that one because it was outside my scope, and in fact, I had to learn a different dialect of Igbo. I think that was the most challenging role I’ve ever had, and I like playing bad guys; it’s really good fun. Something outside you and I had to be very energetic outside my normal, calm self and stuff, so it was fun.
You schooled in England and Zambia, and then you also graduated from the University of Nigeria, where you studied English Literature. Did living in England and Zambia affect the man you have become today as an actor?
Immensely, because sometimes I feel like when someone says he is the son of a soldier or a policeman, I understand what they mean. You get posted everywhere, as a soldier or policeman. The children never really gather moss wherever they are; they’re always in different places. I think that’s how I feel sometimes. But kudos to my dad, he made sure that by age four, I could read and write Igbo. My dad banned English from the house; you go outside and speak English. He made sure Igbo was spoken in the house, where I learned everything I knew about my culture. So, I’m kind of a split personality. I’m a very down-to-earth village man, and at the same time, I have everything mixed in me so I can play or do anything that comes to mind because my dad made sure I was rooted, all of us were rooted in our culture right from birth.
If you did not make it as an actor, what other career path would you have chosen?
Teaching, definitely, or I’d have been a writer. I do a bit of storytelling too. But it would have been teaching. My dad was a teacher, and he rose through the ranks. He was a primary school teacher, then went into teacher training school, then went into secondary school teaching, before he was sent on scholarship to go overseas to study, and then came back and became a lecturer. So I went through the whole gamut; I had to learn how to read and write Igbo. Originally, I was supposed to be a doctor, read medicine, but because my father made sure I read a lot of literature, I fell in love with storytelling, and that’s why I insisted I was going to read English literature in the university.
Nollywood has become such an enigma that a lot of people are watching, and we are now getting the attention of the world. What do you think informed us that made us that way? What do you think helped the industry grow into that, and where do you think is the next step for the industry in terms of growth?
It’s simple: self-confidence. My best movies are from 2000 and earlier, dating back to the early ’90s, because they told stories about us, by us, for us. These films were so original and heartfelt, which is what attracted the whole world, even if they didn’t understand our culture. It was so impactful that, whenever I travel to the US, I meet people like Jamaicans giving their children Nigerian names. Everyone knows what Omugwo is, and it really helped us because, surprisingly, abroad, they actually think we swing from trees like monkeys. Imagine their shock when they see beautiful houses and people with a rich culture. Especially with Nigeria, Africa as a whole, or even the black diaspora—when you see a parent disciplining a child in a movie, everyone understands what it means: that broom or slipper will follow you and hit you right on the butt. Black people understand that, and it really resonates because many times they feel alienated, like strangers. But when they see models like Nigeria—so confident—they immediately feel they haven’t lost their culture. They feel connected, and that really endeared them to us. We went through that phase with great storytelling, but lacked proper equipment; it wasn’t very strong. Most was analogue, and as more sophisticated equipment came in, it became about picture quality and what you could produce. The storytelling scene was somewhat pushed aside, and often stories from Bollywood or Western tales were adapted into ours, which alienated viewers—they couldn’t connect. I believe there’s a resurgence of African stories, helped by music. Our music, unapologetically Nigerian, has gained global popularity. I think the film industry has also contributed, like the one I did with Tosin Igho, Uzor Arukwe, and others, which was an amazing story. It was a detective story, but using African methods to find the culprit, with jazz and local traditions. Omowunmi Dada and RMD starred in it. That really resonated with us, sparking a renewal of stories by Africans, for ourselves, and exporting them to the world.
There’s a new trend now that, as a producer, after you’ve done your work, you have to go the extra mile again and make sure to market it. And one of the ways to market it in Nigeria successfully is to dance. You have this sort of sage aura around you; will you dance to promote a film?
Yes, I’ve danced to promote. See, dancing is not something I like to mention because I’m still very angry with Mary Lazarus. I had to dance, and I’m a terrible dancer. I hate dancing because I cannot dance to save my life. The only worse dancer than me is my younger brother. So please, don’t ask me to dance unless you pay me good, I have to rehearse very well beforehand.
What if it’s your film?
I’ll dance. Have you seen white people dance? That’s how I dance, but a white person, when they’re dancing, they dance so terribly, but they believe so much in themselves that they actually enjoy what they’re doing, making fools of themselves. That is how I’ll dance to promote my film.
Do you think it creates a dangerous trend in the industry?
You see, one thing you have to understand is why Nigerians are respected all over the world. They’re like the Agama lizard. If no one praises them, they’ll praise themselves, and that is why what we are known for is anything that works. That is why this country has not crumbled with all the stress it’s going through; they must find something to laugh at or smile, so if it’s dancing that will do the job, so be it.
Comedian and podcaster Teju Oyelakin, popularly known as Tejubabyface, has reaffirmed his controversial stance on infidelity and confession in marriage, arguing that confessing to cheating could destabilize not only a relationship but an entire family.
Speaking on his podcast, Tejubabyface dismissed the widely held belief that “the truth always comes out” in cases of infidelity, calling it “TV logic.”
“People always love to say that one — the truth always comes out eventually. No, it doesn’t. That’s TV logic. That’s Days of Our Lives logic. Superstory logic. In real life, most affairs never come to light. Do you know how many people have taken secret affairs to their graves?” he said.
He further argued that even if such secrets eventually surface, it would be less damaging compared to an immediate confession.
“And even if it does come out years later, at least you had those years. The kids grow up in a stable environment, and your wife has peace. If she discovers it 10 or 15 years down the line, she can decide what to do then. But confessing immediately only destroys everything,” he explained.
Tejubabyface added that confession often serves to ease the guilt of the unfaithful partner rather than protect the marriage, leaving the innocent spouse to bear the emotional burden and the aftermath of betrayal.
