Showbiz
Sound Sultan: The Poetic Ambassador on Migration UN Never Had
By Segun Adesokan
Motherland, referring to Nigeria in his song, at the time of its release, was timely and its messages even till the present day is rich and timeless as it could be passed off as an immigrant travel guide.
The early part of the song had reminded us about how Chinedu had borrowed some money to fund his trip to Chicago. It further adds: how Nnamdi had also sold off his car to facilitate the trip of a beloved to America. In the middle of it all is also the emotionally drained lover or spouse left behind, whose wellbeing and fragile mind is left hanging in the balance, sadly in some instances, some partners never return.
The song perhaps appears to have critically observed the obsession of many immigrants whose inordinate or misplaced quest for survival believes that immigrating to the West or other European countries is a critical means by which survival is sought, hence Sound Sultan’s Motherland came in handy: offering some counsel, suggesting that sometimes, a sojourner may have to beat a retreat by returning to his ancestral home, Motherland, given the fact that sometimes, in a bid to survive in a foreign land, the unpredictability of such adventures may unavoidably require one to do so.
As often the case with many immigrants from Nigeria and by extension many others from African countries, who had at one time or the other undertaken such adventurous trips in search of greener pasture abroad, even the period leading to their departure also comes at a great cost and sacrifices as some families sell off assets and other prized possessions to fund such trips, unsure whether the risk would eventually pay off or not.
While the craze in search of the golden fleece rage on, some Africans in their desperation may have also thrown caution in the air, leading to situations where thousands have reportedly died in the wake of risky voyages across Mediterranean or Sahara wastelands, as hundreds have also fallen prey to wild beasts, transnational armed syndicate and human traffickers who deal in drugs and séx slaves, having promised many unsuspecting victims an elusive Eldorado life, waiting for them in Europe.
Many African households have believed some of these false narratives built into their psyche for many years and it has become so difficult to undo.
The late singer was never opposed to the idea of people seeking better opportunities or greener pastures outside the country, but rather also reminds them about home and the need for them to apply cautious optimism where applicable, in their quest to travelling overseas.
Notwithstanding, the home would still be home regardless of the prevailing circumstance which may have forcibly led to one’s uneventful return.
This writer believes late Olarewaju Fasasi, fondly called Sound Sultan, as a social crusader, an iconic singer using his musical crafts as a vehicle to remind us about the need to be introspective, also feels compelled to note that Motherland, mirroring the life of most immigrants and some of the challenges often associated with it, brings to the fore also a social problem and the need for concerned international organisations like UN and its relevant agencies to do more in terms of advocacy and policies in reversing the tales of woes of many migrants.
Though UN’s 2030 Agenda for Sustainable Development recognizes for the first time the contribution of migration to its sustainable development, thus, 11 out of the 17 Sustainable Development Goals (SDGs) contain targets and indicators relevant to migration or mobility for which parts of its Agenda’s core principle is to “leave no one behind,” not even migrants.
The SDGs’ central reference to migration is made in some of its major targets, which is to facilitate orderly, safe, regular and responsible migration and mobility of people, including through the implementation of planned and well-managed migration policies.
Other targets directly related to migration mention trafficking, remittances, international student mobility, and more. Moreover, migration is indirectly relevant to many more cross-cutting targets.
UN, more recently, through International Organization on Migration, a leading partner on the inter-governmental organisation in the field of migration works to ensure the orderly and humane management of migration, to promote international cooperation on migration issues, to assist in the search for practical solutions to migration problems and to provide humanitarian assistance to migrants in need, including refugees and internally displaced people.
In 2016, IOM entered into an agreement with the United Nations, becoming one of its specialized agencies.
However, the above plans and efforts of UN appear commendable but today’s realities in some part of Europe and other Asian countries, judging by their immigration policies at present largely remains a far cry from the much-advertised SDG’s policies.
While many Africans battle so hard to grapple with harsh realities and hostilities of their host countries ranging from racism, prejudice, little or too rigid legal documentation processes for immigrants, and biting chances of economic survival, many have also become susceptible to illegal drug dealings which in most cases often result in cruel fate or even avoidable deaths.
The sad news on the passing of Sound Sultan, one of Nigeria’s notable songwriter, artist, producer, and comedian, who a few weeks ago was reported to have lost the battle to a cancerous related aliment around the throat, brings with it feelings of pain, grief, and national loss.
By national loss, Nigeria just lost a voice and a social crusader reputed for his numerous campaigns against bad governance, injustice, corruption, and bad leadership a major clog in the wheel of Nigeria’s progress. He will fondly be remembered for his many statesmanly roles towards mobilizing the citizens through his several songs on how to constructively hold them accountable to their constitutional functions.
To the memory of the late singer, President Muhammadu Buhari also penned a glowing tribute to him for his contribution to basketball development in Nigeria.
He was even reported to have co-owned a basketball team. D’Tigers, the Nigerian men basketball national team, would also honour the late singer by wearing T-shirts bearing the late singer’s name and image on it, for his roles in promoting the sports.
Coincidentally, his death would also leave a lasting memory following D’Tiger’s phenomenal triumph over the US men basketball national team, a feat no African team had ever done, the same day he was said to have died.
The Motherland crooner died at age 44 in the US and his remains have since been buried in the US, same day, according to Islamic rites, leaving behind his three kids and his beloved wife.
The countdown is on as the continent turns its eyes to Lagos for the grand finale of Africa’s biggest celebration of film and television, the 11th edition of the Africa Magic Viewers’ Choice Awards (AMVCA), taking place this Saturday, 10 May 2025.
Organised by Africa Magic in association with MultiChoice, the AMVCAs have grown to become the continent’s most prestigious platform for recognising excellence in African film, television, and digital content. This year’s event is a four-day cultural and industry showcase that began on Wednesday, 7 May 2025, and continues to build momentum toward the main awards night.
The festivities kicked off with Icons Night, a stylish tribute to industry legends whose contributions have shaped Africa’s creative landscape. On Thursday, Young Filmmakers Day puts the spotlight on the next generation of storytellers with an exclusive AMVCA Masterclass on “Sound in Filmmaking,” led by acclaimed sound engineer and producer Shawn Butler.
Today, Friday, 9 May, all roads lead to the highly anticipated Cultural Night, a vibrant celebration of African fashion, food, music, and artistic expression. It’s a stunning showcase of the continent’s heritage and a proud nod to the cultural identity at the heart of African storytelling. Guests can look forward to a live performance by Segun Johnson, known for his high-energy live band sets, as well as appearances from notable personalities.
The festivities come to a grand close on Saturday, 10 May, with the main awards ceremony, a star-studded night of red carpet glam, electrifying performances, and the announcement of winners across 27 award categories, including Best Movie, Best Actor and Actress, Best Director, and more. The ceremony will be hosted by the ever-charismatic IK Osakioduwa, with musical performances from Johnny Drille, Fido, Kumie, and a special dance act by The Dreamcatchers.
Dr. Busola Tejumola, Executive Head of Content and West Africa Channels at MultiChoice, shares her excitement:
“This year, we’re celebrating not just creative excellence, but the cultural richness and resilience of the African film and television industry. From the fashion to the music and the stories themselves, the AMVCAs are a powerful reflection of our identity and our evolution as storytellers.”
The red carpet begins at 4:00 PM WAT, followed by the main show at 7:00 PM WAT, and will air live on all Africa Magic channels on DStv and GOtv, Pearl Magic, Mzansi Magic, and Akwaaba Magic.
Audiences across Africa and the diaspora are invited to tune in and join the celebration using #AMVCA11 on social media.
The 11th AMVCAs is proudly supported by headline sponsor Amstel Malta, tactical sponsor Onga, and partners including Martell, MTN, Nivea, Indomie, Lush Hair, Verve, Quickteller, Goldberg, Arla, and Desperados.
By Tutu Akanni
As the 11th edition of the Africa Magic Viewers’ Choice Awards (AMVCA) approaches, public attention, once again, has been drawn to MultiChoice’s consistent excellence and ability to deliver structure and spectacle, especially in contrast to the growing dissatisfaction with other industry award platforms.
Just days after the 2025 edition of the Headies left fans and industry stakeholders disappointed, with confusion marking much of the night’s proceedings, a new conversation has taken over the Nigerian entertainment space.
While the Headies stumbled through yet another year of technical lapses and disjointed programming, attention has swiftly shifted to a platform known for its meticulous execution: Africa Magic Viewers’ Choice Awards (AMVCA), set to hold its 11th edition on 10th May.
What is surprising is not just the public frustration with the Headies but the growing number of voices openly calling on MultiChoice Nigeria, the organisers of AMVCA, to take over the management of other awards, including the Headies.
In an industry where spectacle often overshadows organisation, the AMVCA has built a reputation for doing things differently. And as many observed over the weekend, the gap in professionalism and prestige is no longer subtle; it’s glaring.
Over the last decade, the AMVCA has grown into one of the continent’s most influential cultural events. Since its debut in 2013, it has not only celebrated African storytelling with consistency and class but has also contributed significantly to the Nigerian economy. In that time, MultiChoice Nigeria has invested over ₦9 billion directly in the production of the AMVCA, including awards, training, and talent development initiatives.
More than 27,000 jobs have been created as a result of the event and its extended ecosystem, spanning event production, content creation, media, logistics, fashion, and hospitality. The awards have recognised over 300 exceptional
talents across various categories, offering a platform that truly reflects the diversity and dynamism of the continent’s film and television space.
Even more impressive is the over N623 billion channelled into the Nigerian film and television economy through MultiChoice’s broader investment in content and infrastructure, an economic impact that places AMVCA at the centre of Africa’s creative renaissance.
The contrast between AMVCA and the recent Headies could not be more pronounced. While the former struggled to hold the audience’s attention and, in some cases, even manage the basic technical requirements of a live show, the AMVCA has built a legacy of excellence, year after year. From world-class stage design to tight production schedules, transparent nomination processes to glamorous red carpet experiences, every aspect of the AMVCA is marked by intention and execution.
It’s no wonder that public sentiment is leaning heavily in favour of MultiChoice, with the public praising the structure and credibility AMVCA has consistently delivered.
These are not random musings; they reflect a real hunger for higher standards in how we celebrate and elevate African talent.
As the AMVCA returns, it is clear that it has become more than an award show. It is a cultural institution, a symbol of what is possible when investment, planning and passion come together to celebrate creativity. While other platforms grapple with inconsistency, the AMVCA continues to raise the bar, demonstrating that excellence is not accidental but built over time with vision and commitment.
This year’s AMVCA introduces a significant innovation: the ‘Best Music Score’ category.
While this might seem like a small change on paper, it’s a major shift in practice. This move addresses longstanding criticism of music’s critical role in film storytelling. By recognising composers and sound designers, the AMVCA acknowledges the intricate layers that music adds to cinematic narratives, enhancing emotional depth and audience engagement.
The introduction of this category is more than a nod to musical contributors; it signifies the AMVCA’s commitment to evolving with the industry’s standard and recognising all facets of film production. It’s a testament to the awards’ dedication to inclusivity and comprehensive recognition of talent.
Even this year’s nominee list reflects the same spirit of rebirth. While iconic names continue to appear, there’s a visible shift toward rising talents and first-time nominees. In categories like Best Lead Actress and Best Supporting Actor, younger stars like Gbubemi Ejeye and Darasimi Nnadi are taking centre stage. It’s a generational handover unfolding in real time, an intentional celebration of both legacy and new blood.
Behind the scenes, the awards maintain their credibility with a top-tier jury led by FemiOdugbemi, a respected filmmaker and culture advocate, who serves as Head Judge. His decades-long dedication to African cinema adds weight and wisdom to the selection process. The jury includes a mix of professionals across directing, cinematography, writing, and production, ensuring that recognition goes to those who truly deserve it, with fairness and rigour.
But beyond the glitz, what makes AMVCA such a powerful platform is the sense of purpose that drives it. It understands that African storytelling is not just about entertainment; it’s about identity, legacy, and pride. And it treats its audience with respect, understanding that credibility is built not just through applause but through consistency.
In stark contrast, the recent shortcomings of other award platforms highlight the importance of structure and vision in executing events that honour artistic achievements, like the recent fallout from the most recent award ceremony.
Viewers have called out the chaotic sequencing, last-minute venue changes, and awkward stage moments that plagued the event.
In a time when many industries are re-evaluating what excellence looks like, the AMVCA stands as proof that African institutions can lead at a global standard. And it continues to grow, not by accident but by design.
In the final analysis, the question may no longer be how to fix broken platforms but how to replicate what the AMVCA has done right. And if recent conversations are anything to go by, more and more people believe that the answer lies in letting those who understand structure, scale, and purpose lead the way.
Akanni, a culture enthusiast, writes from Lagos
By Modupe Gbadeyanka
Mr Ezekiel Onyedikachukwu, who is the former manager of a popular gospel singer, Mercy Chinwo, has been arraigned by the Economic and Financial Crimes Commission (EFCC).
He was brought before Justice Chukwujekwu Aneke of the Federal High Court sitting in Lagos on a seven-count charge bordering on an alleged $255,446 money laundering scheme.
Mr Onyedikachukwu, who runs a record label known as EeZee Conceptz, was accused of committing an offense, which contravenes Sections 5 and 29(1)(c) of the Foreign Exchange (Monitoring and Miscellaneous Provisions) Act, Cap F34, Laws of the Federation of Nigeria, 2004, and is punishable under Section 29(2) of the same law.
The EFCC, which brought the suspect and his company, Eezee Global Concepts Limited, before Justice Aneke through its counsel, Ms Bilikisu Buhari-Bala, said in June 2023, the music executive, “without being an authorized foreign exchange dealer appointed by the Central Bank of Nigeria (CBN), negotiated a foreign exchange transaction worth $52,895 with one Mr. Oladotun Olaobaju Mureke.”
It was further argued that in March 2021, the defendant conducted an unauthorized $70,000 forex transaction with Avalan Chetrase 1307 Company and in October 2022, executed a transaction of $18,775 with one Gift Ugochi Christopher.
Also, the anti-money laundering agency alleged that the suspects received $65,703 without declaration, and in 2023 and 2024, received $52,350 and $137,383, respectively, without filing the mandatory financial disclosures with the Special Control Unit Against Money Laundering (SCUML).
However, Mr Onyedikachukwu pleaded not guilty to the charges, prompting Ms Buhari-Bala to request his remand in a correctional facility pending trial, which his counsel, Chikaosolu Ojukwu (SAN) opposed, informing the court of a bail application dated February 28, 2025.
In his ruling, Justice Aneke temporarily released the defendant to his lawyer as demanded, fixing May 9, 2025, for ruling on the bail application.
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