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Seyi Tinubu Appoints Obi Cubana as South-East Regional Director of City Boy Movement

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Seyi Tinubu, son of President Bola Ahmed Tinubu and patron of the City Boy Movement (CBM), has officially appointed prominent Nigerian businessman and socialite Obinna Iyiegbu, popularly known as Obi Cubana, as the South-East Regional Director of the youth-focused pro-government group.

The appointment was formalized during a visit by Seyi Tinubu to Obi Cubana’s residence in Abuja on Monday night, February 2, 2026, where he personally presented the letter of recognition and appointment. The ceremony, captured in videos circulating on social media, featured supporters singing President Tinubu’s campaign anthem, “On Your Mandate We Shall Stand,” amid cheers and expressions of loyalty to the Renewed Hope Agenda.

The City Boy Movement is a youth-oriented platform aligned with President Bola Tinubu’s administration, aimed at mobilizing support, promoting youth empowerment, innovation, and regional cooperation ahead of the 2027 general elections.

In a post on his Instagram page on Tuesday, February 3, 2026, Obi Cubana shared details of the event and addressed mixed public reactions to his new role. He reaffirmed his commitment to integrity, community development, and inclusive growth, stating, “I am a City Boy through and through, inside and out,” while emphasizing that meaningful change requires active engagement rather than withdrawal.

The appointment has sparked widespread discussions online, with some praising it as a strategic move to strengthen ties in the South-East region, while others have expressed criticism or skepticism. Obi Cubana urged detractors to respect differing perspectives and focus on shared national progress.

This development comes as part of broader efforts by the City Boy Movement to expand its influence and grassroots support across Nigeria in preparation for future political engagements.

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Entertainment

‘God Took Him’ — Singer Niniola Announces Death of Husband Michael Ndika

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Nigerian Afro-house star Niniola Apata has announced the heartbreaking death of her husband, Michael Ndika, after 13 years of marriage.

The Grammy-nominated artist shared the sad news in a series of emotional Instagram Stories posted in the early hours of Wednesday, May 20, 2026.

“God took him,” Niniola wrote in one post. “My husband died,” she added in another, while expressing deep grief in a third: “God took him. 13 years. 13 f***ing years.”

Michael Ndika, also known as Big Mike or X.O, served as Niniola’s manager and was the Chief Executive Officer of NaijaReview, a multimedia platform promoting Afro-house and contemporary African music. The couple had kept their marriage largely private, surprising many fans who were unaware of the union.

No details have been released about the cause of Ndika’s death. Tributes and messages of condolence have poured in from fans, fellow artists, and the music community, including her sister, singer Teni.

Niniola, celebrated for hits like “Maradona” and her contributions to the Afro-house genre, is now receiving an outpouring of support as she mourns the loss of her longtime partner.

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Wizkid Becomes First African Artist to Surpass 11 Billion Spotify Streams

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Nigerian Afrobeats superstar Wizkid (Ayodeji Balogun) has etched his name deeper into music history, becoming the first African artist to surpass 11 billion total streams on Spotify across all credits.

The milestone was announced on Tuesday by music data platform Charts Africa, which noted that Wizkid has now claimed every major Spotify streaming benchmark for African artists—from 1 billion to 11 billion streams.

This latest achievement underscores Wizkid’s unparalleled dominance as the most-streamed African act on the platform. His catalog, boosted by global hits like “Essence” with Tems and his feature on Drake’s “One Dance,” continues to drive massive numbers. He also leads other top African acts, with Burna Boy at around 9.8 billion and Davido trailing further behind.

The timing coincides with the recent release of his collaboration “State of Mind” with DJ Tunez, which quickly racked up hundreds of thousands of streams. Industry observers project that Wizkid’s consistent daily streaming velocity will keep pushing his totals higher.

Fans and industry figures have flooded social media with congratulations, hailing the feat as a proud moment for Afrobeats and Nigerian music on the global stage. Wizkid’s previous breakthroughs, including becoming the first African artist to hit 10 billion streams earlier in 2026, had already positioned him as a continental trailblazer.

This 11 billion milestone further solidifies his status among the world’s streaming heavyweights and highlights the growing international commercial power of Afrobeats.

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NFVCB Approves 304 Nollywood’s New Films

English-language productions dominated the industry with 201 films classified within the period under review. Igbo-language productions accounted for 44 films, while Yoruba recorded 42. Hindi films stood at nine, Hausa productions accounted for five, while Bini-language films recorded three classifications.

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The National Film and Video Censors Board (NFVCB) declared that it approved and classified 304 films between January and April 2026.

In a statement, Director of Film Censorship and Classification at the board, Deborah Malgwi, said that the figure represented an increase from the 267 films classified during the same period in 2025.

Classification data released by the board shows that January 2026 recorded the highest number of approvals with 102 films, followed by 83 in February, 77 in March and 42 in April.

In comparison, the board classified 25 films in January 2025, 58 in February, 114 in March and 70 in April of the same year.

The statistics also showed that English-language productions dominated the industry with 201 films classified within the period under review. Igbo-language productions accounted for 44 films, while Yoruba recorded 42. Hindi films stood at nine, Hausa productions accounted for five, while Bini-language films recorded three classifications.

Further analysis indicated that most productions fell within the “15” and “18” age categories, reflecting prevailing themes in contemporary film productions.

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