Broadcasting
CKay, Omah Lay, P.Priime and; Telz to represent Nigeria @ #YouTubeBlack Voices Music Class of 2022

YouTube on Thursday announced a roster of 54 artists, songwriters and producers selected to join the #YouTubeBlack Voices Music Class of 2022.

Among the acts from Australia, Brazil, Canada, USA and the UK are eight African artists based in Nigeria, South Africa and Kenya.
Supported by the #YouTube Black Voices Fund, the #YouTubeBlack Voices Music Class of 2022 is a development programme designed to directly support and mentor Black artists, songwriters & producers worldwide. The addition of songwriters and producers to the 2022 class demonstrates the continuation and expansion of Youtube’s efforts to support Black artists on the platform.
With the aim of equipping up-and-coming Black artists, songwriters & producers with the resources to succeed on YouTube, the class will be grouped into two programme streams: one for artists and one for songwriters and producers. Class participants will each receive dedicated partner support, seed funding to invest in the development of their channels, and opportunities to participate in training and networking programs focused on production, fan engagement and wellbeing.
Over the next 6 months, they will also get opportunities to develop their catalogues and collaborate with other global artists, songwriters, and producers who have also been selected to take part in the programme.
Commenting on the significance of the programme, YouTube’s Head of Music, Sub-Saharan, Addy Awofisayo says “African music is taking the entire world by storm and the #YouTubeBlackVoices Fund is an opportunity to both celebrate and nurture African artistry and help songwriters, producers and artists share their craft with global audiences.”
“Black culture is expansive and ever-changing and YouTube Music is committed to celebrating that experience through music,” she adds.
Nigeria’s Omah Lay whose music is heavily influenced by his background, strong culture and environment, has an undeniable connection to his audience and high hopes for his journey with YouTube Black Voices: “My music speaks to the people that love me, the people I love and the people that have been through what I have been through. I see the #YouTubeBlack Voices Fund having an impact on my career in different ways. It would allow me provide content about my musical journey to my fans, and in marketing them to a greater audience,” he says
Singer-songwriter CKay, whose earliest contact with music was through his father, a church choir conductor, decided to start writing his own music on the piano and guitar. He says “that knowledge of instruments coupled with digital production is an integral part of my music-making process. My traditional South-Eastern origin explains my use of Igbo language in my music and my extensive knowledge of High-Life music.”
Producer P.Priime, who is from a musically inclined family fell in love with music when he was a little boy singing in the church choir, has made different types of songs for various artists expressing a combination of ideas and emotions. “I would say as long as you can relate to my sound, then that’s it. I have so many ideas I’d love to bring to life and I know with the right resources and funding, I’d be able to achieve that,” he adds.
Telz meanwhile describes his music as if it were human because “it has character and speaks for itself” and says he sees the #YouTubeBlack Voices Fund impacting his career in various ways — especially in bringing his ideas to life and helping him network with other creatives globally.
The full list of African artists and songwriters/producers admitted to the #YouTubeBlack Voices Music Class of 2022 is as follows:
| ARTIST | CATEGORY | COUNTRY OF RESIDENCY |
| Azawi | Artist | Kenya |
| CKay | Artist | Nigeria |
| DJ Lag | Songwriter / Producer | South Africa |
| Elaine | Artist | South Africa |
| Major League DJz | Songwriter / Producer | South Africa |
| Omah Lay | Artist | Nigeria |
| P.Priime | Songwriter / Producer | Nigeria |
| Telz | Songwriter / Producer | Nigeria |
Broadcasting
NCC Blocks Piracy Sites as Nollywood Faces Rising Digital Theft

Nigerian Copyright Commission (NCC) has called for urgent adoption of advanced digital protections after blocking seven piracy sites amid escalating online threats to Nollywood content.

The call was made during a webinar hosted by Greychapel Legal titled “Clicks, Streams, and Copyright: Who Owns Nollywood’s Digital Future?”, which brought together filmmakers, regulators, entertainment lawyers and media strategists to examine how content ownership and copyright enforcement are being reshaped by the digital age.
Lynda Alphaeus, director and head of the NCC Lagos Office, said the Commission has intensified its efforts to combat piracy across digital channels and is upgrading its operations to meet emerging threats.
According to her, Nigeria’s new Copyright Act was deliberately updated to strengthen creators’ rights amid the explosion of online distribution.
“NCC has worked, and is still working tirelessly to adapt Nigeria’s legal framework to cope with digital distribution challenges. We now have the power to block networks publishing illegal content, and we have already blocked seven websites distributing pirated Nigerian works,” Alphaeus said.
She revealed that the Commission has established a special taskforce known as the STOP Unit to coordinate anti-piracy operations online, alongside new awareness campaigns targeting local markets and schools to educate content creators and the public on copyright obligations.
Alphaeus urged filmmakers and producers to take ownership of their digital safety by deploying available technological protections to safeguard their intellectual property.
She explained that tools such as encryption help prevent unauthorised copying, blockchain technology offers immutable proof of ownership, digital watermarking allows creators to trace illegal uploads, while cloud security and regular offline backups protect creative files before they reach the market.
While noting that copyright in Nigeria does not legally require registration, she stressed that registering one’s work strengthens protection and provides legal presumptions that can be vital in enforcement.
“Whatever you register is presumed to be yours until proven otherwise,” she said, urging creators to invest in copyright knowledge as part of their business strategy.
Other speakers at the webinar reinforced the urgency of protecting Nollywood’s digital assets.
James Omokwe, film director, noted that while streaming platforms have created unprecedented opportunities for visibility and monetisation, they have also opened new vectors for intellectual property theft and unauthorised redistribution.
Solafunmi Laelle, media strategist, added that audience data, which streaming platforms rely heavily on, will increasingly determine leverage and value in film licensing negotiations.
According to her, creators who lose control of their intellectual property, whether through piracy or unfavourable contracts, also lose access to valuable data that could shape their long-term earnings.
Nky Ofeimun, entertainment lawyer, emphasised the need for creators to understand the contractual implications of ownership, platform exclusivity, and reversion rights.
She noted that many filmmakers still underestimate how quickly digital copies can be illegally duplicated or uploaded once control is lost.
The panelists agreed that as Nollywood deepens its digital footprint, piracy will continue to evolve and become more sophisticated.
They stressed that the industry must respond with equally sophisticated tools, stronger contract negotiation, and improved education around copyright.
Broadcasting
Four Must-Watch African Films Debut Free on Glo TV

Globacom, just introduced four brand new movies on its premium entertainment platform, Glo TV, and they are completely free for all subscribers. The company says the release marks another major step in its mission to enrich digital entertainment for millions of viewers across the country.

In a statement from Lagos on Wednesday, Globacom explained that the new titles feature some of Africa’s most celebrated actors and filmmakers, offering a colorful mix of romance, comedy, drama, culture, and emotional storytelling. The lineup includes Johnny Just Come (JJC), Eko Vibes, Bound, and Shifting Desire.
“Each of these movies was chosen to spotlight diverse African stories while delivering world class entertainment unavailable in cinemas, on YouTube, or on any other streaming service. Viewers do not need any subscription or extra payment. Access is completely free,” the company said.
Leading the pack is Shifting Desire, featuring Lilian Afegbai and veteran actor Majid Michel. The film is a gripping romantic drama that dives into marriage, intimacy, betrayal, healing, and the emotional journey of a couple using therapy to rebuild trust. Shifting Desire premiered on Glo TV on December 2 and is already streaming for free.
Johnny Just Come (JJC), starring Patience Ozokwor and Nancy Isime, delivers a hilarious cultural crossover story about an American man trying to navigate love and marriage in an African household. The movie explores themes of identity, family, culture, and coexistence in a warm and relatable way.
The third title, Bound, starring Rita Dominic and Eyinna Nwigwe, is a thought-provoking family drama that follows a successful career woman confronting long hidden personal struggles and the impact on her relationship. The film showcases powerful performances from some of Nollywood’s finest.
Rounding out the collection is Eko Vibes, featuring Broda Shaggi, Josh2Funny, and Nkechi Blessing. The movie captures the energy and hustle of Lagos youth culture, spotlighting ambition, humor, and the vibrant spirit of young people chasing success in the city.
Globacom noted that the new releases reinforce its commitment to delivering original African content at the highest quality. “With these exclusive titles, Glo TV is redefining digital entertainment in Nigeria by offering fresh, premium movies not available anywhere else. We remain committed to growing our catalog with rich African stories that celebrate creativity at its best,” the company added.
Broadcasting
Young Africans Hit Hardest by Online Gender Violence, Paradigm Initiative Reports

A new study, conducted by pan-African organisation, Paradigm Initiative (PIN), warns of an alarming surge in the prevalence of Technology-Facilitated Gender-Based violence, with 67 percent of respondents being victims of at least one or multiple forms of digital violence.

Online
Released on International Human Rights Day, the research exposes deep systemic failures, weak accountability, and unsafe online spaces driving a rapidly escalating epidemic across Cameroon, Kenya, Nigeria, Senegal, Zambia, and Zimbabwe.
PIN recognises that this gap limits both the understanding of TFGBV and the development of effective solutions. In response, this study adopts a survivor-centred approach that reframes how TFGBV is researched, discussed, and addressed. By prioritising survivors’ perspectives, the research uncovers the emotional, social, and systemic dimensions of digital violence that formal reports and statistics often obscure. It also interrogates how survivors navigate reporting systems, access justice, and play an informed role in digital spaces that are frequently hostile or unsafe.
A key finding of the study is that young people are disproportionately affected, with those aged 18–34 constituting the vast majority of survivors. Most incidents of TFGBV occurred on Facebook, WhatsApp, and X (formerly Twitter), underscoring how mainstream social media platforms continue to function as structurally unsafe spaces for many users—particularly women, activists, and advocates.
“Victims’ experiences range from sexual harassment, threats, and misogynistic attacks to severe violations such as stalking, non-consensual image sharing, hacking, sextortion, and identity-based harassment,” the report notes. “Personal testimonies reveal profound emotional, psychological, and reputational harm.”
The study also highlights that formal systems such as the police, employers, and public institutions, remain underutilised, largely due to fear, mistrust, or an expectation of inaction. While the findings expose wide-ranging gaps across platforms, institutions, and legal frameworks, they also highlight survivors’ resilience and their continued efforts to seek safer digital environments.
In light of these findings, PIN calls for urgent action to make online spaces safer for everyone, in line with this year’s Human Rights Day theme, “Human Rights, our everyday essentials.” Addressing these systemic gaps is critical to advancing democratic engagement, promoting media pluralism, fostering digital inclusion, and achieving gender equality across Africa.
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