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Technology, Creativity Critical in Nigeria’s Entertainment Industry- Onyemelukwe

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(L-r): Laide Olabode, marketing manager, Betty Anthony, campaign manager, and Sam Onyemelukwe, managing director EMC - Trace, during an interactive session with media in Lagos during the week.
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Mr. Sam Onyemelukwe the managing director, Entertainment Management Company (EMC) Nigeria & TRACE in Nigeria, has identified technology, creativity, partnerships and professionalism as obvious factors for the long term survival of the Nigerian entertainment industry.

Speaking to the press in Lagos, Onyemelukwe who comes from a creative background, having begun his career in 1995 at Walt Disney Television in Buena Vista, California in the post production department, noted that government’s part in the industry’s sustainability plan entails the provision of enabling ground, infrastructural developments and funding.

He said, “No doubt, the Nigerian entertainment industry has come of age, but we need a clearer plan for long term sustainability of the talents and investments already in place. For instance, apart from funds, the industry can thrive better when professionalism is entrenched; which will benchmark artists, producers and others in the industry. It is going to do everybody good in the industry when that happens.

“For us in TRACETV; in fact, ask the artists themselves, they will tell you that we have professionalized our processes, operating in standards that will take many of our competitors years to attain.

“That is why in the last 4 years TRACE has worked with a good number of brands like St Eve for the Summer Jam Fest with Rick Ross; Diageo (Smirnoff Industry Nite & Johnnie Walker – Black Podium); Nokia (Don’t Break the Beat); Airtel ( Airtel TRACE Music Star); OLX (OLX TV AD Campaign); Ledrop (Remy Martin ,St Remy & Jack Daniels); GD Netter – Handled Creative duties for the Henessy Artistry Campaign 2011;             GSK (Ribena & Lucozade); HP Nigeria; Tecno; Etisalat; MTN; Africa’s Next Top Model; Access Bank; Pepsi –Top Ten Music Chart Show; Samsung; Glo, among others. What did we achieved with them? We worked in the capacity of Selling Sponsorships, Event Management, Production, Talent Management, Innovative Digital Media Solutions, etc”.

“Another important point as the industry climbs the ladder of progress is partnership. You will find out that people engage in unnecessarily rate cuts so as to strike a deal, but at the end, it is either they do shoddy job or pay from their pockets to execute the job. When you lower your standards, don’t expect it will get better next time.

“If we have not leaved up to expectations, we wouldn’t have executed such campaigns as: Nokia’s Don’t Break the Beat; creative duties GD Netter’s Hennessy Artistry Campaign; Airtel TRACE Music Star; Smirnoff Industry Nite; Johnnie Walker’s THE SEAT; OLX Advertising Campaign; Ledrop (Remy Martin – At the Club with Remy/Remy Gbedu Slam) and others”.

“In terms of technology and the impact on the whole thing, it is at the centre of all this. Technology galvanizes, it sets you out from others and helps the creative ability in you to be put in proper shape. We believe that the entertainment village project to be built at the National Theatre, Lagos will come on soon, because the industry needs that. Even at this time we are talking about digital broadcasting, we need such infrastructure for independent producers to leverage for quality local contents production”.

TRACE is a brand and an international media group that provides contemporary music and sports entertainment content to a large and predominantly young audience.

Its core business is original content and pay-tv channels, available in English and French, distributed in over 150 countries through 28 satellites and 200 carriage agreements.

TRACE represents the voice of the youths, playing the best of R ‘n’ B and Hip Hop videos. Since its launch in April 2003, the channel has grown to include TRACE Urban, TRACE Tropical and TRACE Sports Stars, TRACE Africa and TRACE Toca

Inspired by the vibrant music scene, the electrifying artists, great music videos and the passionate creative spirit TRACE launched in Nigeria with a view to promote African music globally under EMC Nigeria  who are the Exclusive representatives for TRACE in West Africa.

EMC Nigeria is also a Media and communications outfit that provides a complete suite of services from Brand Marketing Concept Development, Talent Management to Broadcast and Event Production.

Onyemelukwe after establishing himself in the media and entertainment, had spent the next decade between the worlds of fashion and music, producing and directing numerous performances and shows as well as working in Artist and Repertoire, developing young acts.

He most recently ran MTV Base’s Nigeria business, creating and executing campaigns, including concert events and club parties and Broadcast TV Production for LG, Coca Cola, Airtel and Cadbury Buttermint.

To summarize TRACE in Nigeria, he said, “we operate as a youth and young at heart brand solutions provider. In addition to providing access to music obsessed youth through our popular leading Trace Urban TV channel, we also produce world class broadcast TV content such as Pepsi Top 10, OLX Truth Series, handle talent management, provide Media & Advertising campaign solutions, Event Production for brands in Nigeria”.


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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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