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Mo Abudu Has Been Named An Oscars Academy Museum Guest Programmer



Mo Abudu

Nigerian filmmaker and entertainment impressario, Mo
Abudu announced over the weekend that she will be working as a guest programmer at the Academy Museum in Los Angeles leading up to the 96th Academy Awards.
The Academy Museum serves as the official museum of the Academy of
Motion Picture Arts and Sciences, the body that for years has been responsible for the Oscars.
One of her roles includes hosting a series of screening for movies
tagged Echoes Of Africa.
The book Echoes of Africa will delve
into “African experiences, triumphs, dreams, and realities through a captivating lineup of films, which will be presented in partnership with the National Association for the Advancement of Coloured People (NAACP).”
Scheduled for February 1 to 9, in Los Angeles, the event boasts of an array
of African movies which include ‘The Little Girl Who Sold the Sun’ (1999), ‘Le Franc’ (1994), ‘Vaya Timbuktu’, ‘This is Not a Burial, It’s a Ressurection’ and ‘Monangambé’ (1968). Abudu noted that Echoes Of Africa presents
a vibrant patchwork of African viewpoints that perfectly captures the film’s enduring resonance. She also described the experience as a vital
way to get connected to the African narrative.
She said; “An enthralling cinematic odyssey awaits, promising to leave
you stirred, enlightened, and intimately connected with Africa’s vibrant essence.”
Earlier, the filmmaker announced that her outfit, EbonyLife Media, has
been spotlighted by Forbes Afrique, a development which she said celebrates Nollywood’s collective creativity.
“Forbes Afrique has spotlighted EbonyLife Media’s outstanding work.
This recognition celebrates our collective dedication and creativity. We’re deeply grateful to Forbes

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Fussion: An Emissary Goes Home (TRIBUTE)



Late Fussion, a member of the Apostles Group

By Godwin Adindu*

It was at Akpu Rd, in a compound overlooking the popular Girls High School Aba, of the present Abia State that Fussion charmed me into a passion for rock music. Poor impressionable boy! I almost took to raps because I associated it with transcendental inspiration.

He would stand at the edge of a long chair, holding a burning piece of paper in his hand. He drew smoke from the rap, gaggled it in his mouth, and allowed it to percolate through his head’s nerves, tears streaming down his cheeks. Then he would gently place the rap on a couch and watch the smoke curl around and dissipate into the atmosphere. It was like a ritual. One would think there was something esoteric about the rap because he would suddenly jump into a burst of energy, elevating his entire body to a higher level.

Fussion would grab the microphone, his creamed afro hair hiding half of his eyes. Barry was already on the drum set, his two legs kicking, his two hands flogging, and his chest gyrating to the beats he was creating from the sets in front of him. The guitarists were flinging the bars, while the keyboardist had already been transported to an unknown world.

It was fascinating to watch The Apostles Rock Group perform their rehearsals. They never drove us away. We would look out the window, the smoke from the raps clogging our lungs.


Then Fussion would sing a code that would bring the entire studio to a halt before quickly switching to a tenor voice that would re-energise the band. That seemed like a prelude. It was typically old-school music. Then he would move from the material to the elemental realm, seeing things you can not see, hearing voices you can not hear, and singing with extraordinary inspiration. He was expressing the paradoxes of life using primordial idioms that conveyed wisdom and truth. This was in the early 1980s, and as a teenage schoolboy at the nearby Wilcox Memorial, the Apostles Group became my heroes.

Looking at Fussion on stage, nodding his head, hitting the air, and kicking at nothing as he meanders his voice through extremely difficult chords, I saw a spirit in human form. I saw a supernatural emissary carrying a light and communicating a universal message of truth across time and generations. Odighi whe aka nrichala ya ato lo onu. (There is nothing the hand will eat and become stuck in the mouth.)

It is so sad that this emissary has completed his circle and returned home.
Fussion, there is a fire at Ekeoha. I have always borrowed from you to tell my brothers, “Nmeregiri bu ogu.” I will miss you.

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Diddy Apologises For Cassie Assault, Says ‘I Hit Rock Bottom’



Sean “Diddy” Combs has apologised in a social media video for violently beating his then-girlfriend Cassie Ventura in 2016.

In an Instagram video, Diddy admitted to being fucked up and apologised for it.

“I mean, I have hit rock bottom. I make no excuses. My behaviour in that video is inexcusable. “I fully accept responsibility for my actions in that video.”

The music mogul claimed the incident prompted him to seek professional help, such as therapy and rehabilitation, and that he was “committed to being a better man every day.”

“I am not seeking forgiveness,” he said. “I am truly sorry.”


Diddy’s Instagram post came two days after CNN released a harrowing video of the star repeatedly stomping Ventura as she attempted to flee their Los Angeles hotel room in 2016. The CCTV footage showed Diddy dragging her motionless body back into their room with her leg.

The footage sparked widespread condemnation, including from Ventura’s husband and Diddy’s rival 50 Cent. It may have prompted Diddy to close his fashion line’s website. The Los Angeles District Attorney’s Office found the video “extremely disturbing and difficult to watch,” but could not charge him due to expired statutes of limitations on aggravated assault.

Meredith Firetog, a partner at Wigdor LLP and Ventura’s attorney, criticised Diddy’s apology as “more about himself than the many people he has hurt.”

“When Cassie and other women came forward, he denied everything and claimed that his victims were looking for a payday,” Firetog wrote. “That he was only forced to ‘apologise’ after his repeated denials were proven false demonstrates his pathetic desperation, and no one will be persuaded by his deceptive words.”

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Police Explain Why Portable Was Manhandled And Arrested



The Lagos State Police Command said it apprehended the well-known musician Habeeb Okikiola, also known as Portable, on Tuesday for failing to pay off a debt incurred from the purchase of a G-Wagon from a local car seller in the state.

Portable is accused of possessing a vehicle worth N27 million after paying only N13 million and failing to pay the remaining balance of N14 million.

Benjamin Hundeyin, the State Police Public Relations Officer, confirmed that Portable was apprehended.

“Yes, Portable was arrested. He purchased a G-Wagon for N27 million, paid N13 million, and refused to pay the balance, claiming the vehicle was defective. “We arrested him today,” he explained.

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