Category: Entertainment

Curvy Nollywood actress and producer, Joy Tambou has opined that having s3x with a film producer or director is free and by choice.

In a recent chat with The Nation, Tambou expressed her opinion on the s3x stories involving Nollywood practitioners saying, “S3x is free. If you want to give, you give. S3x is not by force, if you are saying that some people are looking for s3x, Nollywood producers are looking for s3x? They should know that it is about choice.”

Continuing Tambou said, “I don’t think there is anybody forcing anybody for s3x but you know we have a lot of desperate actors and actresses, who just want to appear in movies. All they think about is s3x. If you want sex everybody will take s3x from you. You don’t have to give s3x to get to where you are going, especially in these days when the internet is so open and everybody is successful doing their skits and all that. S3x is free.”

She went ahead to urge female film stars to stop blaming producers for demanding s3x.

“Stop blaming producers, stop blaming people that they are requesting for s3x. There is no sector in this world that they don’t request for s3x but the thing is it is not just in Nollywood alone, it is everywhere. You go to the bank, people request for s3x, in politics, law firms, everywhere,” he said.

Nigerian recording vocalist, Lawal Deborah Olufunmilayo aka Kayefi is one of the few artistes who believe there is more to music than just dancing. OLAITAN GANIU writes about the performer, who is creating a niche for herself in the Nigerian music industry by infusing Ijala (a traditional African chant from the Yoruba-speaking part of Nigeria) to her tunes.

“My small build is in contrast to my big voice,” she says of the inspiration behind her nickname after recording over 50 songs that include singles, an EP, and movie soundtracks.

Kayefi made her mark on the music after an opportunity from 9ice to showcase her talent to the world. “9ice and I are good, he is my uncle,” she says fondly of the Afrobeats superstar.

Currently warming up on her forthcoming single entitled ‘Ghetto’ Kayefi says her new song is created to give hope. “Ghetto is also a state of mind, any situation that has you in a corner is a ghetto situation. You must always find a way to survive it and have faith that it will always get better. The body of work will be released on May 3, 2023.”

The Afro-soul singer says she looks forward to collaborating with the legendary Angelique Kidjo as well as Youssou Ndor, Baba Maal, and King Sunny Ade while she has the late Fela Anikulapo Kuti as her role model.

Her love for African culture influences her style and kind of songs. “Culture is life itself, it is the core of our existence, it is who we are as a people and it tells a lot about us and how the world sees us. How we tell our stories is very important and that is why we must always be at the forefront of it, portray it well and talk about it ourselves and not let other people define our culture for us.”

On the inspiration behind her songs, she said, “Every one of my songs is inspired by one thing or the other, this one talks about another part of me that I haven’t spoken about before. Most of my other songs are anti-government and heartbreaks. Songs that speak of hope and a desired future. It’s a part of me I want to share with the world and I think I’m ready to talk about these things.”

To pre-launch the soon-to-be-released album, Kayefi recently took her loyal fans on a musical journey when she performed the 11-track album at Camden Town, London as the audience referred to her as a powerhouse.

With a husband and children, Kayefi says her family have been supportive in helping her joggle between being an artist and family. “I am an artist at all times and I am blessed to have a very understanding family, my husband and children are very supportive. I bless God for them. My sister has also been very helpful in fact my family as a whole are my support system that’s after God.”

Afrobeats singer cum evangelist, Kasbeats has said that he had known he would end up doing God’s work since he was a teenager.

The singer, who rose to prominence with the hit song ‘Fimile’ years back, disclosed that his musical career started from church where he also got his stage name.

“I have always been into ministry, I have been preaching since I was six, seven years old. I have been preaching for a very long time.As a young preacher and church boy, I am also a musician,” said Kasbeats.

He continues, “Obviously, my music made me popular. My name is Kas but I was given the ‘Beats’ part of it in the church. My choir mistress back then named me Kas Beats because of the way I play the drums in church. I have always been into ministry. The music part of it is just a gift that God gave me.

“Honestly there was no particular experience, I always knew I would be into ministry, there was no sign, nothing, I just always knew. Whenever I hang out with my friends, fellow musicians,  2face, D’Banj, Wande, whenever I hang out with them, and they see me in the club they say ‘this guy is different’.

He further revealed that his ministry doesn’t take tithes and offerings.

“Whenever I preach, I don’t collect tithes and offerings. When God called me, He did not tell me to take money from people. There is a way God provides me with money, so I do more crusades and seminars. Any time I organise crusades and seminars, I actually give people food and other items, instead of collecting money from them.”

Veteran Nollywood actor and politician, Bob-Manuel Udokwu has stated his greatest legacy as an actor, musician, politician and father.

The film star made this known on a recent Instagram live interview with his fans to mark his 60th birthday.

The award-winning actor and Special Adviser to Governor Charles Soludo on entertainment, leisure and tourism said, “My greatest legacy would be to impact so much on humanity, not just younger generations, humanity that people will always look at me and say Bob-Manuel was different in a positive way.”

He further advised and gave some tips to upcoming actors in the industry, who wish to excel in their careers. Soludo charged them to get professionally trained and read widely because they are going to be an icon people will look up to someday.

Speaking of his many talents, the seasoned thespian said “I am also into music, people don’t know, two-three years ago I produced a 6 track reggae album by Orits Wiliki that has not been released and just last week I did another version of Anambra state anthem reggae version, maybe what people should watch out for is the reggae side of me.”

Organisers of NECLive have announced the conception and introduction of a new multi-venue, global format for the conference.

After 10 years in a single city, the conference will now be held simultaneously in other parts of Nigeria, as well as in key cities across Africa, Europe, and America.

These changes, according to founder Ayeni Adekunle, are ‘a matter of necessity, given where the industry is today and in line with the new challenges and opportunities on the horizon.’

In a message to partners and stakeholders, Ayeni explains: “When we conceived the idea for an annual conference 10 years ago, it was out of frustration. Frustration about lack of education, about piracy, about lack of platforms and access and opportunities for entertainment practitioners to monetize their talent at scale. Today, most of those problems have largely been solved. But we are now faced with even bigger problems and opportunities. And I believe that it’s time to begin the work of making sure Africa’s creators and everyone else in the value chain; as well as our societies and economies, get the maximum possible value from our contribution to, and growing participation in the global entertainment marketplace.”

From 2024, the new NECLive will hold over the course of a month, from April to May every year, beginning with a flagship event in Lagos, and running through cities like Abuja, Port Harcourt, Calabar, and Ibadan in Nigeria; London and Edinburgh in the United Kingdom; Atlanta and New York in America; and other key African cities like Nairobi, Accra, Johannesburg and more.

“We are spending the next 10 years of NECLive on answering these questions and more. And to do that well, we have to overhaul the entire format. So starting April 24, 2004, we will decentralise the platform, hosting shows and workshops and exhibitions and more all over the world. We will retain flagship events in Lagos and other Nigerian cities. But no matter where you are in the world, the plan is for you to be able to witness the African entertainment experience from the point of view of carefully selected professionals who have given and continue to give everything it takes to build what I am convinced will shape up to be the most successful creative industry in the world,” Ayeni said.

Despite the less than 24 hour information for change of venue, the movie premiere of Don Pedro Aganbi’s ‘Predator’s Nest’ was a success in all ramifications.

Held at Railway hotel, Ebutte Metta, the two–in-one event organised by former chairman, Lagos State branch of Actors Guild of Nigeria, Don Pedro Aganbi was well attended with dignitaries from all walks of life in attendance.

The faces spotted at the event include Desmond Elliot, Nobert Young, Grace Amah, Sunny Neji, chairman Ojez Entertainment, Joseph Odobeatu, Niyi Alli, chairman, Surulere Local Government area, Bamidele Suleiman Yusuf, Vice chairman, Ajeromi Ifelodun local government area, Lucky Uduikhue; CEO, AfrigoldTV, Oby Uzoukwu, Uzamat Akinbile Yussuf, Commissioner for Arts, Culture & Tourism, Lagos State, among others.

The movie which centres on the exploitation of the innocence of minors by predators who can be family friends, fathers, uncles, aunties, friends, is an eye opener to the evil lurking in society.

Predator’s Nest is a call to greater care, from everyone within the chain; the boy, the girl, the teacher, the principal, the rules, the law, the detective, the constable and every well-meaning person or group.

The movie parades skillful actors like Kelechi Udegbe, David Mckinze, Chris Akwarandu, Don Amina Ndim, Mimi Adesoji, among many others.

The second part which was the Global Film Academy Top 50 leaders and philanthropists award ceremony recognized the roles in society of distinguished personalities such as Oby Olebara Uzoukwu (Outstanding humanitarian Award), Mykel Parish Ajaere (Nollywood Merit Award), Nobert Young (Lifetime Achievement Award), Grace Amah (Nollywood Merit Award), Uzamat Akinbile Yussuf, Commissioner for Arts, Culture & Tourism, Lagos State (Outstanding Public Sector Leadership Award), among others.

45-year-old Idris Olorunnimbe is the Group Chief Executive Officer at Temple group and Ogidi studios. The consummate strategist and a Law graduate, who worked as a Personal Assistant and Senior Special Assistant to Babatunde Raji Fashola, while he was the Governor of Lagos state between 2007 and 2015, stands tall with a wealth of experience that span the private and public sector. In 2016, Olorunnimbe was spurred to build The Temple Company with the aim of tackling the challenges posed by the entertainment, tourism, and sports sectors. Seven years later, Olorunnimbe spoke to THE NATION ASST. ENTERTAINMENT EDITOR GBENGA BADA on his achievements, more hurdles and plans ahead.

Seven years ago, you kick-started The Temple Company with a team, did you prepare for where you are now and how the company has unfurled as regards adjusting to industry realities?

The most important thing was that we started with an open mind. We had a plan, but we understood that the only thing constant in life is change. And that we had to be flat-footed so that we could adjust to the world because we’re not building a company that will be in isolation with what the realities are. We also knew that there will be changes because of growth and we were prepared for it. So every step of the way where we were mindful of what’s happening around us, and adjusting accordingly for optimization.

From managing talents to making movies, series, organizing sporting events and running a globally-acclaimed studio, how has running all these been in the spate of seven years?

It’s been herculean. It’s been very tough because we’re doing what hasn’t been done before. There was no model. So, when you do what hasn’t been done before, it means that people can use you as a guinea pig. They learn quickly from your mistakes so they don’t have to make them and they can quickly leapfrog from the right things that you have done. So, it’s been tough, but rewarding. And I think that the reason we’ve been able to survive is because of the people of The Temple, my colleagues. There have been changes because not many people who started this journey with us are still here. Somehow, along the way, we’ve been able to find and work with people who share ideals and values with us, people who believe in the vision and the dream. And so at every point of the way, it’s always been the people. Also importantly, the funding because without the resources all you can just do is to plan. So, we’ve had the resources as well, and the people. Thanks to the board and the investors in The Temple Company who have helped us to continue to forge ahead.

When many talk about the need for infrastructures, capacity building and talent deficits in the Nigerian entertainment and creative space, how have you and The Temple Company responded to these growing concerns?

I would like to say that we are firm believers in doing, which makes us doers and not talkers because talk is cheap. So every time that there’s been a need, we have gone out to find a way to get something done about it and fill that need. With regards to infrastructure, when stakeholders were complaining about lack of world-class studio facilities, we went on to build ours. Today, we are very proud of Ogidi Studios. And that’s not to say that there are no other studios, some of which are in operation while others are in development.

And like I said, when we launched Ogidi Studios; it was the best at the time and still the best in my humble opinion. And the studio that will be better than Ogidi Studios will still be developed by The Temple Company and it is coming. You can watch this space. With regards to capacity building, right from when we founded this company, we have run master-classes at no cost to attendees and in partnership with thought-leaders in the industry across different areas. We recently partnered with the Lagos State Government through the Ministry of Tourism, Arts and Culture, the University of Lagos and the Henley Business School to train about 1000 people, physically and virtually. We trained people in sound design, production design, songwriting, media studies and filmmaking, etc Again, we just go out and get things done. So, are we where we want to be? No. However, we’re in a better place. We intend to train some more in partnership with the Lagos State government and the Federal government of Nigeria. The more we address the deficits in talent, skill, and infrastructure, the better industry will be, and the better our economy will be.

Considering the obvious fact that you came from public service to the entertainment creative space to disrupt the norm, how well or bad would you say you have done on a scale of one to 10 and then why?

So, I think that you would admit with me that it is unfair for me to mark my own script because if I were to do so judging by my account balance, sleeplessness and number of lives touched by us, I might be tempted to score myself beyond the possible highest score. So, I think that the people in the best position to score how I have done is perhaps, those of you in the public domain.

If the estimation or value of the Nigerian entertainment and creative space is put at over $10 billion, how do you justify this considering the reality that so many things are still done unprofessionally?

If you reflect on your question and the value that you quoted, it just shows you the potential for growth. What is going to happen when we do everything professionally? In the creative industry, unprofessionalism is also a word that is relative because there are really no rules. Let’s take music for instance, sometimes the music that you make on your phone in the middle of the night that you think is not refined might be the one to win you awards. Meanwhile, the one that you sat in the studio that took you two weeks, 14 producers and 18 songwriters might not take off. So, every stakeholder spanning the entire stretch of the industry is a potential contributor to the financial size and value of the industry.

Starting out The Temple Company, one of the talents you had on board is Bisola Aiyeola amongst others but she seems to be the last woman standing after 7 years – albeit doing great exploits – tell me the story behind the synergy.

Well, it’s not just Bisola that is still with us. But I’ll talk about Bisola as a reference point for all the other talents that are still here after all this while. I think it’s really simple. There are no shortcuts for anybody who signs to The Temple Company intending to cash out real quick. Their expectations will not be met. This is because we believe very strongly in planning, research, and detailing. We also understand that it’s actually a long game. Your intention is not to have a career that is going to last for one year. So it is something that we have to continue to build. There are many ‘yeses’ that you will not be happy to say that you must say and there are many ‘nos’ that you would have to say that in the short term might not make a lot of sense to you as a talent. So again, it is about shared vision, goals and mutual understanding that every day will not be Christmas. So we’ll be there with you during the ‘highs’ and ‘lows’. There’s also the fact that our talent services are divided into two, management, and agency clients. For management clients, it is a 360 service that is also exclusive. However, our agency clients are at liberty to sign multi-agency agreements. When we find things that suit you, we’ll reach out to you. You earn, we share.

I am obvious of the fact that in the last seven years, you have kept your contacts in public service despite running The Temple Company, which has evolved into a global conglomerate. How have you leveraged on these contacts to advise and probably proffer solutions to some of the challenges of the creative and entertainment sector?

Again, it is always about the people. Everything revolves around people. The people in government need us outside the government and the people outside the government need the people in government. So, we’re partners in progress. I did work in the public sector, so it gives me some experience. However, I don’t think it gives us any unfair advantage. I think what it has just done is that it makes us better prepared to help solve problems. Now that I am wearing the shoes of the private sector, it also helps me to know where the shoes pinches the most and in that regard, I advise the government or make requests that will be beneficial to all parties concerned.

You have shown over time that partnership works – NUGA games in partnership with UNILAG, capacity building in partnership with LACCI amongst others – why the bold and brazen moves?

I will refer to an African proverb that says that if you want to go fast, go alone and if you want to go far, go with people. In any case, collaboration is the new competition. We ask ourselves a lot, what is the value of all of nothing when you can own a part of something. Now, time is also of the essence and it is in our best interest for us to be able to move and to reap the highest number in the quickest possible time. So collaboration is critical. And I mean, we just had to try it. So, once we find people who want the same things as us, or share our values, we are always eager to work with them for the greater good. So, it’s not about me or about The Temple Company, it is about Lagos, Nigeria, Africa and the world. And when it is about the world, we can go that extra mile to get the best results.

In seven years, you have moved from managing talents to rubbing minds with globally acclaimed entertainment outfits like Netflix, Marvel Studios and more, how does that make you feel as the man at helm of affair?

Well, I don’t think we have really started yet. We’re only scratching the surface at the moment. I don’t think I’m going to feel like I’ve been able to achieve anything until our studio lot is done and we can embark on multi-million-dollar productions of international franchises in Lagos or Nigeria. Until when we can have a production of global standards with a budget of over $200 million, being executed in Lagos or any part of Nigeria, then we haven’t started. I think if you look at the average budget of a film project in global economies such as North America and the UK, it is worth sometimes everything that we have put out in the month. So until when we are able to accommodate that. I’m talking about when we have our film city or film village. At that stage when we can be carrying out multiple projects on a daily and monthly basis. When we can have the capacity to fully engage the majority of the young Nigerians who are keen on participating in the creative industry, then maybe I will feel special but right now, I just feel like there’s a lot more to get done. We are playing our part, we are adding our own quota. We are pushing the limits. We are going to continue to lead in any and every way that is positive. So, how do I feel? I feel like there is a long way ahead and we will get it done by God.

What expectations do you have for the creative sector from the incoming administration of President-Elect, Bola Ahmed Tinubu?

I’m excited because the things that need to be done on a national scale have been done at the sub-national level in Lagos. The incoming president is exposed. He understands the power of the creative industry. He understands the power of tourism, and has played a significant role in the creative industry when he was the Governor of Lagos state. A lot of the things that we have done in Lagos just need to be replicated in other places. We have done the testing and it works. So it excites me what this incoming administration has to do. So I think his previous experience in governance will come to play in our favour.

After turning seven, what new things should we expect from The Temple Company?

So we have a few projects that are coming on in television, film, and concerts. Some of them I can talk about and some of them I can’t talk about yet. There’s something huge coming up in December in Lagos. ‘Introducing the Kujus’ won an AMVCA award last year and we have done a sequel called ‘The Kujus Again’. This time the movie features Don Jazzy who is appearing for the first time in a movie. We’re also going to go into the production of a series for young people that touches on culture, Lagos, tourism etc, principal photography begins in May.

We also just finished filming Ward 10, a limited series that will be released on one of the Video on Demand (VOD) platforms later in the year. ‘I Am Number’ with Bisola is coming as well as ‘Naija Meter’ with Mimi Onalaja. My guys and I have been busy. And then of course, also coming is the film city or village that we are going to lead and deliver over the next few years and perhaps decade.