Narrative does change; as life goes on, the beauty of who you are will be defined by your intentions toward yourself, your fans, and your craft. Kiddwaya is a major player in Entertainment industry, and he is using his influence and individuality to improve the relationships of the fans and Stan.
How Kiddwaya moved away from other people’s realities to pursue his own reality without taking away his wholesome personality needs to be adequately studied. Kiddwaya channeled his intuition into a dream life and the goals he has always desired at a time when so many people believed in life on social media and were faking impressions just to keep up with the gram. He took the importance of social media and celebrities’ lifestyles to a different level, thereby steadily building his fortress and creating a diversified niche.
The reality of a favorite can also influence the stans, which explains the WDG’s extraordinary composure and positivity adoration. a base that took time not just to keep up with their favorite alone but also took a cue from his positive and global impact. Boldness and a proper understanding of life are their forte—class beyond class, you might say.
Due to Kidd Waya’s significant actions over the course of his three years of fame, this special edition of Ranks Africa Magazine is dedicated to him.
So now it’s over to you. What do you think of this issue, both in print and online? What do you like and what is missing? Let us know RanksAfrica@gmail.com or @RanksAfrica on Twitter and Instagram and we’ll see what we can deliver in our forthcoming issues.
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The influence of Kunle Afolayan is long-lasting and profound. Prior to the monumental success of ANIKULAPO, Kunle Afolayan has always worked with magic, both historically and currently. He served as an inspiration for many filmmakers even before cinema and online streaming were widely adopted in Nigeria; to his credit, movies like Irapada, The Figurine, Phone Swap, October 1, Roti, The CEO, Mokalik, etc. have all been named the finest movies by movie lovers.
Without a doubt, Kunle Afolayan revolutionized how viewers rated Nigerian films. He is one of the most well-known directors to emerge in the last two decades. He also fits the description of a director who is aware of the idea of talent stardom.
Even though Kunle Afolayan has not yet received an Oscar, he will always be considered one of the best in the world. For this reason, a special edition of Ranks Africa Magazine has been created to recognize and commemorate him.
With nearly three decades of professional acting experience, Kunle Afolayan is not just a talented filmmaker but also a very skilled actor who is pleasant, charming, and easygoing.
We also name 14 actors in this special issue of the magazine who you should watch out for in 2023. The list includes actors who are having breakout years, stars of highly anticipated films for the awards season, and even actors who are making their film debuts.
So now it’s over to you. What do you think of this issue, both in print and online? What do you like and what is missing? Let us know RanksAfrica@gmail.com or @RanksAfrica on Twitter and Instagram and we’ll see what we can deliver in our forthcoming issues.
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In Nigeria, becoming a successful entrepreneur and influencer is not simple, especially for well-known individuals. There is pressure attached. Hard work, expertise, and frequently a small bit of luck is necessary.
One of the few people who had a successful business before becoming famous is Niyi. Since Niyi Lawal was presented to the world via the reality television show “Big Brother Naija” season 6’s “Shine Ya Eye,” many have come to the conclusion that you don’t need to be an entertainer before you join the show.
Due to the way he conducts himself on the show, Niyi continues to be one of the most respected #BBNAIJA naija alumni.
We at Ranks Africa have decided to celebrate those who have achieved professional success and used their enterprises to have a positive influence on their industry as well as society at large. This is the driving force behind this magazine.
This time around, Niyi Lawal, a successful serial entrepreneur and fashion influencer, is the subject of our focus story. You’ll find this quite interesting.
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Ranks Magazine is a media outlet documenting creative minds today for tomorrow, which Identify and Promote Business, People and Industries from the perspective of every people & connecting people to latest business news
Two things happen when you live through an era of rapid change, as we are now. Firstly, there is an inevitable surge of artistic creativity and second the contrarians, the non-conformists and the anti-heroes come into their own. We witness the rise of the rebel: those who don’t play by the normal rules, who flourish in chaotic, unpredictable times and welcome uncertainty without fear. This is what this edition of Ranks Africa Magazine, celebrating Entrepreneur, Cross Okonkwo is all about. This edition celebrates the curious revolutionaries who think differently and this is reflected in the articles and contents carefully put together in this edition.
This edition, gives an insight into the life and brand of Ikechukwu Sunday Cross Okonkwo, popularly known as Cross, Entertainer, Lifestyle & Fitness Entrepreneur and the King of the Cross Nation.
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Taking a giant step from certainty to uncertainty, Cross da Boss inspires entrepreneurs, setting a new standard beyond entertainment on this exclusive edition of Ranks Magazine which explores his entrepreneurship journey, growth and lifestyle.
To all members of the CROSS NATION across the globe, this is a must have ‘master piece’ of your king and serial Entrepreneur available.
In an attempt to justify the conviction and death sentence passed on Olowokere Segun by the Osun State High Court, the learned trial judge, Falola J. has said that it was a case of armed robbery and not a theft of fowl as widely reported in the social media. The judge pointed out that the convict was found guilty of armed robbery and sentenced to death. However, on the grounds of the young age of the convict and the circumstances of the case, the judge had recommended to the Governor to commute the death penalty to life imprisonment.
We submit that the trial, conviction, and death sentence passed on Olowokere Segun were illegal, null and void in every material particular. Since it was not denied that Olowokere was 17 years old at the time of his trial, the Osun State High Court lacked the jurisdictional competence to have tried him. The case ought to have been instituted in the Osun State Family Court which is exclusively empowered to exercise jurisdiction in any criminal proceeding involving or relating to any penalty, forfeiture, punishment or other liability in respect of an offence committed by a child, against a child or against the interest of a child.
Even if a child is convinced and found guilty of armed robbery, he or she shall not be ordered to be‐(a) imprisoned; or (b) subjected to corporal punishment or ©️ subjected to the death penalty or, have the death penalty recorded against him. In other words, the Family Court or any court in Osun State is prohibited from imposing the death penalty on any person under 18 years.
Even before the enactment of the Child’s Rights Law, it was illegal to pass the death sentence on a 17-year old person under section 420 of the Osun State Criminal Procedure Law. It was in realisation of the provision of that law that the learned trial judge recommended to the Governor of Osun State to grant clemency to Olowokere Segun based on mitigating factors, such as age and first-offender status.
But probably due to poverty and ignorance, the family of Olowokere neither appealed against the judgment nor pursued the recommendation of clemency made by the trial judge. Hence, the young convict had been on death row at the Kirikiri Maximum Correctional Centre for the past 10 years.
Since the trial, conviction and death sentence passed on Olowokere Segun cannot be justified in law, Governor Ademola Adeleke has rightly granted him full pardon in exercise of the prerogative of mercy conferred on him by section 214 of the 1999 Constitution of the Federal Republic of Nigeria.
The case of Olowokere Segun is a sad reminder of the case of the 12 young persons who were convicted and sentenced to death for armed robbery in Lagos in 1989. The judgment was full of errors of mistrial. In particular, the convicts were below the age of 16 years and did not speak a common language. In fact, the charge of conspiracy to commit robbery was not proved as the convicts could only express themselves in Hausa, Yoruba and Ewe languages.
Curiously, the tribunal ordered the deportation of two Ghanaians among the convicts, thereby sparing their lives. Even though the Armed Robbery and Firearms Decree ousted the jurisdiction of the courts, we challenged the human right of the convicted Nigerians to freedom from discrimination under Article 2 of the African Charter on Human and Peoples Rights (Ratification and Enforcement) Act.
The Lagos State High Court granted our application for injunction restraining the Lagos State military Governor from executing the convicts pending the determination of the substantive application. Before the substantive case was heard, the military junta had relinquished power. Based on the representation made on behalf of the convicts by our law firm, Governor Michael Otedola committed their death sentences to 10 years imprisonment. A few months later, the Governor granted them full pardon on account of their good behaviour.
Happily, Governor Otedola ensured that the ex-convicts were rehabilitated upon their release from prison custody. While appreciating the decision of Governor Adeleke to grant pardon to Olowokere Segun, we are compelled to call on the the Osun State Government to facilitate his full integration to the society.
Femi Falana SAN
19th December 2024.
The day I decided to watch Everybody Loves Jenifa, I thought I was early—sharp guy like me. But apparently, Lagosians had other plans. The box office was already looking like a BRT queue during rush hour. “Come back tomorrow, we’re sold out,” the attendant said with a smirk that screamed, You dey whine me? At that moment, two truths slapped me across the face: Funke Akindele has Nigerian cinema on lockdown, and I might just be the only person in Lagos who hadn’t joined the Jenifa cult. As I dragged my tired self home, one question lingered: “Why does everybody love Jenifa? And will I?”
Let’s rewind to 2009—a simpler time when fuel was cheap, and Jenifa wasn’t just a movie; it was practically a religion. Her face was on posters at every video club, and her voice echoed in living rooms across Nigeria. My grandma, after laughing her heart out, would pause the tape just to preach about “bad company.” Jenifa wasn’t just entertainment; she was home training wrapped in comedy. Fast-forward 16 years, and Funke Akindele is still cashing in on her creation like a long-lost MMM pioneer. With Everybody Loves Jenifa pulling in ₦45 million on opening day (and that’s without Genesis Cinemas, o), you can’t argue with her star power. But here’s the real question: Is the movie actually good, or is it just noise wrapped in nostalgia?
The film kicks off in AMEN Estate—Jenifa’s crib for the soft life. Her business is booming, and her NGO is making waves. But trouble shows up in the form of Mr. Lobster (Stan Nze), a domestic violence perpetrator disguised as a philanthropist. Before you know it, Jenifa’s life spirals into a chaotic whirlwind that takes her from Lagos to Ghana, mixing domestic violence exposés with cartel drama and her iconic gbagaun one-liners.
Now, let’s call a spade a spade—this movie doesn’t pretend to be deep. It’s big, loud, and packed fuller than a plate of party jollof. The cast list alone is like a Nollywood Avengers lineup: Hilda Baci, Lagbaja, and almost everyone who’s anybody in Nollywood make cameos. While the star power will have fans screaming, the plot struggles to keep up. Imagine cooking with 15 different spices—sounds exciting, but the result might confuse your taste buds.
The biggest offender? The pacing. Some scenes drag on like Lagos traffic, repeating the same info over and over like a bad lecturer. And those subplots? Hmmm. Did we really need Destiny Etiko’s situationship with Mr. Lobster or Lateef Adedimeji’s waka pass moment as Jaburata? Honestly, the second half feels like the movie switched scripts halfway through, but at least Jackie Appiah shines as a drug lord. And then there’s Falz—our ever-reliable Shege. His romance with Jenifa is a refreshing oasis in this desert of plot chaos. Their chemistry reminds us why we fell for Jenifa’s charm all those years ago. Add Layi Wasabi as Rex, Shege’s sidekick, and you have some genuinely hilarious moments.
But e get one small wahala. Jenifa herself doesn’t quite hit the way she used to. Back in 2008, she was the underdog—awkward, relatable, and loveable. Here, she feels more like a parody of herself, surrounded by equally exaggerated characters. Adaku’s obsession with food, Madam Bassey’s limp and lisp—these gimmicks feel forced and unnecessary.
That said, the film has its moments of brilliance. The running gag of people correcting Jenifa’s grammar—even in life-threatening situations—is top-tier absurd humor. Imagine someone pointing a gun at you, and your response is, “Oga, it’s were not was.” It’s ridiculous, it’s bold, and it works.
So, why does everybody love Jenifa? Maybe because she mirrors our chaos as Nigerians—the hustle, the resilience, the gbas gbos of daily life. Or maybe Funke Akindele has simply built a brand too iconic to fail. Either way, Everybody Loves Jenifa knows its audience, and it delivers the kind of wild, laugh-out-loud spectacle that keeps fans coming back.
Is it Funke Akindele’s best work? Nope. But it’s far from her worst. It’s a nostalgia-heavy, slightly chaotic movie that will leave die-hard fans grinning and first-timers raising an eyebrow. And as I sat there in the packed cinema, surrounded by cheers and laughter, I finally got it. Loving Jenifa isn’t about logic or storytelling finesse; it’s about the vibes. The unexplainable, unreplicable, chaotic energy that only Jenifa brings to the table.
Rating: 2.5/5
Credit Daniel NSA
Tunji Afolayan, the award-winning art director behind the critically acclaimed Netflix series Seven Doors, shares his experiences working on the show, his approach to set design, and the challenges of bringing a vision to life.
Afolayan’s passion for set design is driven by his desire to tell stories that resonate with audiences. As an art director, he believes that set design is a crucial element in storytelling. “It’s not just about creating a physical space; it’s about crafting an atmosphere that draws the audience in and enhances the narrative,” he explains.
Afolayan’s work on Seven Doors was a collaborative effort with the show’s producers and directors. He immersed himself in the script and the world of the story, working closely with the team to understand their vision and bring it to life. The result was a range of iconic sets, from the Ipebi to the Aganju Shrine, The vintage interiors, The tunnel, The Esusu shrine, The demolished house, each with its unique challenges and opportunities.
Afolayan’s experience working on Seven Doors is just one example of his impressive body of work. He has also worked on numerous other projects, including Jagun-Jagun, Amina, Ijakumo, King of Boys, Asiri Ade, Alakada Bad Boujee and many more. Throughout his career, Afolayan has demonstrated his commitment to excellence and his passion for storytelling.
However, Afolayan’s success is not just a personal achievement; it also reflects the growth and development of the Nollywood industry. Despite the challenges facing the industry, including Netflix’s recent decision to stop funding Nollywood producers, Afolayan remains optimistic about the future.
“Netflix’s decision to stop funding Nollywood producers is a wake-up call for us as an industry,” he says. “We need to find local solutions to our distribution problems. We can’t rely solely on international platforms to fund and distribute our content. We need to develop our own distribution networks, our own streaming platforms, and our own marketing strategies.”
Afolayan’s comments highlight the need for the Nollywood industry to take ownership of its own distribution and marketing. By developing local solutions and infrastructure, the industry can reduce its reliance on international platforms and create more opportunities for Nigerian filmmakers.
In addition to the challenges facing the Nollywood industry, Afolayan also discusses the importance of preserving Nigeria’s cultural heritage. As an art director, he has encountered difficulties in portraying centuries-old locations and cultures accurately. However, he sees this challenge as an opportunity to be innovative and resourceful.
Afolayan’s commitment to excellence and his passion for storytelling have earned him numerous accolades, a multi award winning across several platforms:
Amvcas: 2018 (winner Lotanna), 2022 ( winner Amina), 2023 (Nominee Battle on Bukka street), 2024 (Nominee Jagun-Jagun)
AMAA: 2022 (nominee Foreigners god ), 2024 (Jagun-jagun)
Golden movie Award: 2018(winner Lotanne), 2020(winner Foreigners god)
Best of Bollywood: 2024(winner Jagun-jagun)
The Importance of Recognizing Filmmakers Behind the Camera
Afolayan’s success highlights the importance of recognizing the hard work and dedication of filmmakers behind the camera. As he notes, “It’s unfortunate that the people behind the camera are often overlooked. Without us, the film wouldn’t be the same. I think it’s essential to recognize and celebrate the hard work and dedication of the entire filmmaking team.”
The Role of Funding in Movie Projects
Funding is a crucial aspect of movie production, and Afolayan emphasizes its significance. “Funding is crucial in movie projects,” he states. “It determines the scale and quality of the production. Without adequate funding, it’s challenging to bring a vision to life.”
What’s Next for Tunji Afolayan?
As Afolayan looks to the future, he remains committed to his craft and passionate about telling stories that resonate with audiences. With his exceptional talent and dedication, we can expect to see more of his outstanding work in the years to come.
Tunji Afolayan is a name that has become synonymous with excellence in the Nigerian film industry. As an award-winning art director, he has successfully worked on a wide range of projects, including the critically acclaimed Netflix series, Seven Doors.
A Diverse Portfolio
Tunji’s impressive portfolio boasts an array of iconic projects, including:
– 7 Doors
– Jagun-Jagun 1 and 2
– Amina
– Battle on Bukka Street
– King of Boys
– Foreigners’ God
– Lotanna
– Asiri Ade
– The Trade
– Alakada Bad and Bougie
– Malaika
– Ijakumo
Iconic Sets in Seven Doors
Tunji’s work on Seven Doors is a testament to his creativity and attention to detail. Some of the most memorable sets include:
– The Ipebi
– The Aganju Shrine
– The Palace Sets
– The Vintage Interiors
– The Tunnel
– The Esusu Shrine
– The Demolished House
A Master of His Craft
As an art director, Tunji has received several nominations and awards for his work on various projects. His success can be attributed to the motivation and support of his team, who are essential to bringing his ideas to life.
Tunji has expressed his gratitude to producer Femi Adebayo, who has consistently provided him with opportunities to work on his projects. He has also praised the directors of Seven Doors, Femi Adebayo, Tope Adebayo, and Adebayo Tijani, for their vision and imagination.
Bringing Imagination to Life
Tunji’s work on Seven Doors was particularly challenging, as he had to bring the directors’ imagination to life through quality and effective production designs. From sourcing and building sets to creating iconic props, Tunji’s attention to detail and creativity were instrumental in making the series a success.
Tunji Afolayan is a true visionary in the Nigerian film industry. His work on Seven Doors and other iconic projects is a testament to his creativity, dedication, and passion for storytelling. As the industry continues to evolve, Tunji remains at the forefront, pushing boundaries and inspiring future generations of filmmakers.
Crypto trading volume declined by 21.8% in June marking third month of decline
Nigeria leads the world in crypto ownership, according to ConsenSys’ second annual Global Survey.
The report indicated that emerging markets like Nigeria and South Africa are driving the global adoption of cryptocurrencies.
The percentage of ownership is highest in the Philippines (54%), South Africa (68%), and Nigeria (73%).
These countries are at the forefront of notable interest in cryptocurrency-related awareness, ownership, and engagement.
According to the survey, 51% of respondents say they understand crypto assets and 93% of respondents worldwide are aware of them.
Additionally, these countries have shown a strong interest in Web3 activities, such as staking, utilizing decentralized finance (DeFi), and holding NFTs.
Eighty per cent of Nigerian respondents were aware of decentralization, and 77% correctly defined blockchain. In addition, 74% of respondents from South Africa said they were familiar with the concept, compared to 61% of those from the Philippines.
The survey also reveals enduring obstacles to entry, despite the increasing interest in cryptocurrency in these regions. Concerns about scams, market volatility, and a lack of understanding of its purpose are common worldwide.
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Respondents from emerging markets have shown a willingness to accept virtual currencies despite these difficulties and barriers.
Seventy-five per cent of those surveyed expressed concern about artificial intelligence’s (AI) potential to spread fraud and create fake news, highlighting that blockchain may be crucial in resolving these issues.
Blockchain could offer the accountability and transparency required to counteract AI-driven disinformation, according to roughly 54% of participants worldwide.
Speaking about the survey’s findings on the growing significance of data privacy, Joseph Lubin, co-founder of Ethereum and CEO of ConsenSys, stated: “It is impossible to overestimate the crucial role that blockchain technology and decentralization play in improving privacy, trust, and transparency in the way our data is handled.
“The adoption of Web3, blockchain, and cryptocurrency has accelerated recently, with 2024 being a key year.”
He clarified that this growth is partly due to the recent U.S. presidential election, which might result in more transparent regulations for the sector.
Nigeria: A Unique Crypto Market
Nigerians have been drawn to the digital world in hopes of making a living as the real economy struggles with high youth unemployment and astronomical food inflation.
Chainalysis, a New York-based company that tracks blockchain use, estimated that 33% of Nigerians currently invest in cryptocurrencies, placing the country second in global adoption, after India.
Nigerians living abroad use crypto assets to send money to their families back home, avoiding the hassles and exorbitant fees associated with traditional remittance methods.
However, Nigerian policymakers have been concerned about the appetite for cryptocurrencies, which are transnational by nature. They claim that instead of resolving Nigerians’ problems, the country’s move toward cryptocurrencies has weakened their ability to govern and further harmed the struggling naira.
These obstacles haven’t deterred President Tinubu’s administration from using a carrot-and-stick approach. While the Nigerian SEC has theoretically regulated a few local cryptocurrency exchanges, at least three well-known cryptocurrency companies have left the Nigerian market this year.
Bitcoin Bullish Run
Bitcoin surged to a new all-time high, reaching as high as $106K on Monday morning as investors anticipated a rate cut by the Federal Reserve later this week.
Bitcoin is now up 50% since the U.S. elections and almost 8% for the month since Trump’s victory, with a year-to-date gain of 145%.
Digital assets continue to benefit from the prospect of a more favorable regulatory environment and the potential creation of a national strategic bitcoin reserve under the incoming Donald Trump administration.
Comedian and actor AY Makun has spoken out about the recent controversy surrounding Netflix’s supposed halt in funding Nigerian original films.
The controversy was ignited by filmmaker Kunle Afolayan, who claimed that Netflix had ceased commissioning Nigerian originals, raising concerns about the streaming giant’s commitment to the Nigerian market.
In an interview with Nollywood on Radio, Makun clarified that Netflix is not exiting the Nigerian market but is likely re-strategizing its approach due to financial concerns.
“I had a meeting with Netflix recently and it was never mentioned to me that they are opting out of business in this part of the world,” Makun stated.
“At the last meeting, we discussed my next project and how they can be a part of it. I also do not want to believe strongly that they are leaving Nigeria.”
Makun noted that Netflix’s struggles in Nigeria stem from financial challenges.
“The truth is if you are doing business in a particular region and you are not making money but spending much more than you’re making, you would want to re-strategise. That is what is going on with their system and structure,” he said.
The comedian explained that Netflix’s spending in Nigeria has far exceeded its earnings, prompting the company to reassess its business model.
He pointed to the widespread practice of subscription sharing and low subscription rates as key factors contributing to Netflix’s challenges in the country.
“For example, the subscription basis for Netflix in a country that has a population of over 200 million people is just about 300,000, so there is a leakage somewhere that needs to be corrected,” Makun noted.
He added that many Nigerians are accessing Netflix content through shared subscriptions rather than purchasing individual subscriptions.
“You would see a person with a Netflix subscription sharing with several people, so that’s the problem. It is not just about the filmmakers,” Makun concluded.