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D’banj – ‘Why Kanye West Likes Me’

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African pop star D’banj’s February 19 performance at the New York City’s Irving Plaza has kept on receiving rave reviews from local and more international media. As The Entertainer marked his formal US debut , MTV Iggy caught up with the Mo’Hits act as he talked about working with his G.O.O.D Music record label boss Kanye West, why he feels he’s already broken out and how he feels bringing Nigerian music to a more global audience.

How does it feel to be bringing Nigerian music to a more global audience? With the reception I’ve gotten, I’d like to say, not like I was nervous, I just hoped and prayed that people would come with an open mind, that they can listen. And I saw that today, they came with their hearts, they came with their minds. I’m only grateful to God that that’s the beginning. Seeing this, I’m now eager to move around and continue the gospel.

What is your next step toward world domination? To go on the road. America, for one. Even with this crowd, they’ve already shown us that there is massive audience for me here. I thought I was in New York City, but I’m seeing New Jersey, I’m seeing Maryland, I’m seeing Houston. I already have bookings in Houston. It’s just a big privilege and I’m so humbled. I can’t wait to just gladly take the music there to touch them. A lot of American artists and rappers are working specifically with Nigerian musicians.

What do you think it is that attracts them to that scene? I think it’s not just now, and it’s not just about one or two things. First, I give a lot of thanks to a lot of people who have come before me. For one, I would say it’s not just even rappers. If you look at what happened here in New York for the last twenty four months, with Fela Anikulapo Kuti on Broadway [the musical FELA!]. I was fortunate to be at Radio City Music Hall during the Tony Awards. It was nominated for eleven awards. Also, it’s our culture, It’s what we’re preaching, the music, for one, as you know, the sound. It’s not like I want to blow our trumpet, but I always say we came up and we already have sounds and melody and now we’re seeing the aggression.

If you had to describe the difference between performing in Lagos versus anywhere else in the world, what would you say? Wow. With today, I wouldn’t say it’s any different. Today my people showed me here, people appreciate good music. Good music is universal. Is there something in Lagos that sets the scene apart? It’s very real. It’s very real and very original. You know, people are asking me if I’m going to change and I say, ‘What Kanye likes about me is that I’m very original’. Even the way I call my name: ‘I’m D’Banj!” And I don’t want to change that. That’s what we all have in Africa. You know that we’re blessed with a lot of natural resources. We’re blessed with things like oil, and also we have talents. They say we’re a developing continent. Well, we have been developing. Now, we are developed. You are already recording with Kanye West. What is it like being in the studio with him? I came with a mind-set to learn. Also, to show my culture, but more importantly to learn. In the studio the chemistry was great. You know, music is universal. I’ve been in the studio with people who don’t speak English, but, at the end of the day, I love melody. I’ve gained a lot from him, that’s the main reason I’m here. Do you have a place here in New York? I do, but I’m not a New York fan. The weather is a bit crazy. I like ATL, it reminds me of Africa. Anytime I stop by the ATL, I like it. The roads are wider and I love the weather. Miami too.

Who is going to be the video for ‘Oliver Twist?’ I heard there would be some cameos. A lot of cameos. I’ll give you a hint: my new family members.

How did you choose the harmonica as your instrument? Oh, I didn’t choose the harmonica. My late brother chose the harmonica. And you play it because of him?

Did he teach you? No, no one taught me. Later, when I studied it, I learned that it’s such a spiritual instrument- coming from even way back, from the era of the slave trade. It was one of the very rare instruments that Africans, now African-Americans could play. It was one of the few things that they could do, people that were stuck over here. But even for people that were not African-Americans, it stood for something that was more natural. Like, if you listen to country music a lot of them play the mouth organ and the harmonica. Are you going to be doing something really different on the new album? I really don’t know. I’m exploring. I’m going to be doing rock now. I’m doing a rock song! Don’t you believe I can rock? Tell me about Kokomobile. You have a branded cell phone on the market in Nigeria? Yes, I do. Well, my brand is called ‘Koko’. It comes from the song on my first album. And people say, ‘Well, what is the koko?’ The Koko is whatever you do to derive pleasure. It is the bone of contention. So, people started calling me the Koko Master. Today, no one knows its specific definition. But now I have the Koko Lounge, my club in Lagos, Nigeria. And I have Koko Garri, my breakfast cereal. What will it take to bring Nigerian music to a mainstream audience in the US? I think it’s already happening. It’s happened. I walked around; I saw the pictures of the people that have performed here [at Irving Plaza], The Beastie Boys, The Red Hot Chili Peppers, on the same stage. So, it’s already started. The thing I love about Americans is they’re open to good music. If it sounds good to them and it looks good, they’ll buy it. If you could collaborate with anyone, who would it be? I like Rihanna.


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NCC Blocks Piracy Sites as Nollywood Faces Rising Digital Theft

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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.

NCC Blocks Piracy Sites as Nollywood Faces Rising Digital Theft

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.


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Four Must-Watch African Films Debut Free on Glo TV

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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.


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Young Africans Hit Hardest by Online Gender Violence, Paradigm Initiative Reports

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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.

Young Africans Hit Hardest by Online Gender Violence, Paradigm Initiative Reports

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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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