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2023 Election: Nigerian Youths Are Not Ready For Politics — Eedris Abdulkareem

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2023 Election: Nigerian Youths Are Not Ready For Politics — Eedris Abdulkareem-Crystal News

Despite growing evidence of youth activism and mobilization, veteran rapper, Eedris Abdulkareem says Nigerian youths are not ready for politics.

The controversial rapper stated this during an interview with Daily Post. He further took a swipe on Nigerian leaders, emhasized that former President Olusegun Obasanjo is part of the problem of Nigeria.

Speaking on Nigerian youths pertaking in the 2023 election, Eedris claimed that Nigerian youths are not ready for politics because they are busy watching Big Brother Naija and playing ‘kalukalu’.

”They should get their PVC even though their votes would not count.”

The ‘Jaga Jaga’ crooner also accused Nigerian entertainers of focusing on irrelevant things and not using their music to enlighten the public.

2023 Election: Nigerian Youths Are Not Ready For Politics — Eedris Abdulkareem

”The young entertainers are busy singing about booty, drugs and alcohol when they are supposed to use their music to bring and enlighten people. I’m sure if the young guys in music are agitating like we are, things would have changed.”

When asked about his relationship with Obasanjo, Eedris said, “Obasanjo will never be my friend, I worked with him because there was this tsunami in America and we were part of the fundraising program sponsored to raise money for Nigerians out there.

”Obasanjo is part of the problem of this country. When he was in prison, he promised to do a lot of things if he became the President, but he never did. It is really sad, but we can never be friends because he’s part of the problem of this country.

”Our leaders, before getting into office might have the intention to do good things but when they get to power, they change. I don’t know if it is a curse. But Yaradua did work but his term was cut short, sadly. ”

Speaking on the President Buhari’s administration, Eedris lamented that Buhari has done nothing but to dash the hopes of Nigerians and taken Nigeria back to where it was 20 years ago.

“The APC government promised us to change, but Nigerians are in chains, they’ve made everybody become slaves. It’s a sad situation.

“Buhari just wanted to be a president and doesn’t have anything to offer. He just wanted to rule and was not prepared. He does not have what it takes to govern this country. It’s the truth, but a sad story.

“This is the worst government Nigeria has ever experienced. He took us back 20 years.”

The Jagajaga crooner said “Nigeria is in a sad situation; there’s no hope until we have a change of government and leaders who are ready to give us basic amenities.

“We have a President that does not believe in the youths. He once said Nigerian youths are lazy. We are in deep sh*t in this country and there’s no hope as most companies have left Nigeria for Ghana,”.

 

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G’Men’s New Year Party Excites Manchester, UK

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Ahead of it’s the forthcoming New Year Party celebration in Manchester, United Kingdom, one of UK’s foremost association, G’Men of Manchester have concluded all arrangements aimed at hosting friends, families and other stakeholders at their forthcoming new year party celebration.

Billed for Sunday, January 28, 2024 at the prestigious Empire Hall, Cheethamill, Manchester, UK, the association has left no stone unturned at making the event not only a top notch but also ensuring that the day enjoys a successful and memorable achievement.

According to a statement made available and signed by the association’s Public Relations Officer, Otunba Eyitayo Mustapha, “G’Men is a foremost and leading association based in Manchester, United Kingdom. It is constituted by morally responsible and professionally motivated group of Gentlemen living in Manchester.

Continuing, Mustapha explained that G’Men is an evolution of individual and collective members personal and professional passion and commitment to support its stakeholders towards fostering unity amongst them. Besides this, the association is equally inspired to support its primary constituency of Nigerian residents.

Mustapha further disclosed that the unity in diversity theme uphold by the association has consistently played a pivotal role in the association’s day to day activations.

 Mustapha hinted that this proposed new year event will be the third edition in the history of the association.  It will also attract eminent personalities across Manchester and beyond.

 ‘’As an association, G’Men of Manchester has created a niche for itself as a charity

organisation, offering a platform of cultural projection, a window of social integration

and a channel of professional networking; regardless of members colour, race, religion

or ethnicity”, he said.

‘’ Of the various excitements already generated on the social media and

amongst the various Nigerian ethnic communities in Manchester, and given our level

of preparation, as well as the various support we are getting from all and major

stakeholders, I am confident that this year’s new year party celebration will be nothing

short of glitz, glamour and most especially, success” Mustapha also stated.

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Showcasing Steve Sodiya’s Unprecedented Progress In Filmmaking

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Steve Sodiya

Steve Olufemi Sodiya is a seasoned filmmaker with over 30 years of experience. Undoubtedly, he has worked on so many projects over the years as a producer, director, editor, consultant, and post-production supervisor. Sodiya, who doubles as the CEO of Nukoncept Studio, takes pride in working with big legends of the industry over the years. A member of the Directors guild of Nigeria (DGN) also one of the board of trustee (BOT) Association of motion picture and entertainment editors of Nigeria (AMPEEN).

Till date, he has worked on several projects including Figurine, The Wedding Party, The King of Boys (part 1 and 2), Ayinla, Ijakumo, Kofa and his latest project  Malaika.

Practically, he has worked with the living legend, Tunde Kelani, fondly called TK closely over the years. TK opened his eyes to many concepts about filmmaking, and for that reason, he made a conscious decision to stay on gate-keeping of quality control (post-production) for the films in Nollywood for a while. This gave him the chance to study different approaches to telling stories and, at the same time, makes sure the final output was not devoid of excellent finishing.

Of course, there are no bad stories. It depends on who is telling the stories and how it is being presented. Nollywood is blessed with very interesting and exciting stories, for example, the Malaika story is a family story of someone seeking to have a child of her own. The story could have been approached linearly but he decided to give all the characters a chance for the whole world to see from their own point of view.

“Most times humans refuse to look inwardly when they have a challenge but rather blame external forces. Nollywood has come of age and it is time to bring a new game to the table” Steve explained.

Starting from the background of advertising agency back then, the advent of film-making in Nigeria was very interesting, the Alade Aromire, of blessed memory, attempted and became successful in home video movies, which caught the interest of a lot of us that are already into advertising and TV. That is how the quest of Sodiya into the film world started.

“Everything about film-making to me is always about the story. I remember when I took on the project Afonja in 2002, written by Adebayo Faleti, the same feeling I got before going into the project is the same feeling I had when I jumped on King of Boys by Kemi Adetiba.”

Adding that , “We had limited resources when we started Nollywood and that affected our creative process. And trying to tell our stories back then, we hardly think of going very wild with our imagination because we try to limit the stories to what we can achieve right here in Nigeria. These days, our creative process has changed drastically since the industry is now opened up to endless possibilities. “

“Netflix hand-picked some of us and gave us master classes on production and post-production, that alone says a lot about the potentials the outside world see in Nollywood”.

Speaking about the challenges, Shodiya narrated what it has been like functioning in the industry; “In recent times, the most challenging film I directed was Ijakumo. We had to merge the past and the present, cultural depth and modern-day lifestyle needed together. We did a serious balance while I worked alongside a beautiful mind and experienced Movie Director, Adebayo Tijani, to make sure we could deliver that masterpiece.”
“The fight sequence, which we shot for 3 days, was the most challenging one. It was jointly done with the awesome effort of an amazing stunt coordinator, Mr Nollywood David Ugeonyemechi, as well as Hakeem Effects on special effects. The Art Director, Tunji Afolayan, made life easy for us also, and, at the end of the day, we brought the scene to life”.

“Most of the productions I delved into either breaks the box office or brings tons of awards back home. Last year, 2023, one of the projects I co-produced (Kofa) won best film awards at Amaa awards and Afriff as well”

“I have always belonged to a school of thought that believes in reproducing oneself through training and impacting people as one moves up the ladder. Handling multiple projects is very easy when you already have trustworthy and competent hands to work with you with little or no supervision”.

“Malaika is my latest film, the most challenging part of directing this film is handling well over a hundred children in the ‘Ewe orun’ scene of the film. It has never been easy managing children on any film set. Meanwhile, it is even a vfx scene, which requires paying a lot of attention to details”, he concluded.

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Ope Banwo’s Downward Spiral: A Tapestry of Legal Woes and Artist Uproar Unveiled

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Ope Banwo


In a shocking turn of events, Ope Banwo, the once-respected producer behind Ghetto Dreams and the founder of Stingomania Records, finds himself entangled in a web of controversies that threatens to tarnish his reputation within the Nigerian entertainment industry.
The first blow comes from a bitter dispute with two of his signed artists, Baba Nee and Trybson Dudukoko, which has erupted into a public spectacle on social media. The artists accuse Banwo of exploitation, mismanagement, and questionable business practices, while Banwo claims they breached their contracts after benefiting from over N12 million in investments from Stingomania. The online drama paints Banwo as a victim of an industry-wide issue, but critics argue that it may be a diversion from deeper problems within Stingomania Records.
Adding to the turmoil is Banwo’s withdrawal of consents for the use of the artists’ works and his threat to challenge entities engaging with Baba Nee and Trybson without Stingomania’s consent. Some view this as a desperate attempt to salvage his reputation, though others question the ethics of such a public airing of disputes, hinting at potential legal ramifications.
The controversy takes a darker turn with Banwo’s claim of receiving death threats from Baba Nee’s fans. Critics argue that this revelation might be an effort to garner sympathy and shift attention away from the allegations against him.
The drama intensifies as Trybson Dudukoko accuses Banwo of exploiting female artists and engaging in inappropriate relationships with them. Dudukoko’s allegations imply a culture within Stingomania Records that prioritizes personal connections over professional growth. Frank Nero, a friend of Baba Nee, enters the fray, criticizing Banwo for allegedly not compensating Trybson Dudukoko for his role in the movie “Ghetto Dreams” and suggesting that Banwo’s business practices may drive artists to seek alternative means of income.
As if this weren’t enough, a second wave of controversy hits as revelations about Banwo’s shadowy past resurface. Legal battles with the Copyright Society of Nigeria (COSON) from 2017 rear their head, with accusations of false, baseless, and malicious statements made by Banwo regarding the management of N300,000,000 in copyright royalties. Demands for a public retraction, an apology, and damages open a chapter of legal woes that adds to Banwo’s already precarious situation.
These dual controversies paint a grim picture of Ope Banwo’s business practices and management style. The resurfacing legal battles and ongoing artist disputes not only expose a willingness to air grievances on social media but also hint at a darker side of the industry figure, casting a long shadow over his once-celebrated career in the Nigerian entertainment scene. As Banwo faces serious accusations of exploitation, contractual malpractice, and a tumultuous legal history, the unfolding drama suggests that his integrity as a label head and businessperson may be irreparably damaged

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