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The Woman Behind the Final Moments of IShowSpeed’s Ghana Livestream

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The Woman Behind the Final Moments of IShowSpeed’s Ghana Livestream

The woman briefly seen in the closing moments of IShowSpeed’s widely viewed Ghana livestream is Hamamat Montia, a figure whose career spans pageantry, fashion, entertainment, and indigenous enterprise.

Hamamat first rose to national prominence after winning Miss Malaika Ghana in 2006. She followed this with a continental title as Model of Africa Universe in 2007, establishing herself as one of Ghana’s most recognizable faces in fashion and beauty at the time. In 2008, she was selected as one of two models to represent Ghana at the now-defunct M-Net Face of Africa, broadcast on DStv in South Africa. Hamamat advanced to the final round of the competition, where her compatriot Kate Techie Menson ultimately emerged as the winner.

Beyond pageantry, Hamamat’s career intersected with global music and fashion. Through her personal and professional network, she played a quiet but notable role in introducing Ghanaian rapper Sarkodie to international star Akon, who expressed interest in signing the artist around 2010. At the time, Hamamat was signed as a model under Akon’s Konvict brand and featured prominently in campaigns for his clothing line, Konvict Wear.

In recent years, Hamamat has redirected her public profile toward cultural preservation and indigenous entrepreneurship. She is the founder of Hamamat African Village, a Ghana-based enterprise focused on shea butter processing, beauty products, and heritage education. Central to this vision is her Sheabutter Museum in Accra, a cultural space dedicated to documenting the history, craft, and economic value of shea production in Africa.

The impact of global visibility was made clear following IShowSpeed’s livestream. Within 24 hours of being featured, the Sheabutter Museum was fully booked through March 16, drawing renewed local and international attention to the centre and its mission. The surge underscored how contemporary digital exposure can rapidly translate into cultural and economic value for heritage-focused institutions.

Hamamat Montia’s story illustrates a broader lesson within the creative and cultural economy. Excellence alone is often not enough. Strategic visibility and the right platform can amplify years of work, turning quiet legacy projects into globally recognized destinations.

Strategic Partnerships Drive Lagos’ Push as Africa’s Leading Tourism and Creative Capital

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Strategic Partnerships Drive Lagos’ Push as Africa’s Leading Tourism and Creative Capital

The Lagos State Commissioner for Tourism, Arts and Culture, Toke Benson-Awoyinka, is sustaining a deliberate and results-oriented agenda to position Lagos as Africa’s foremost destination for tourism and the creative economy.

On Tuesday, 27 January 2026, the Commissioner convened a high-level strategy meeting with Itohan Barlow-Ndukuba, Vice President for Growth and Partnerships at Rolling Stone Africa, and Bola Balogun, Chief Executive Officer of Glam Brand Agency. The engagement brought together key stakeholders whose work spans global media, branding, and cultural storytelling.

Discussions centred on advancing authentic African narratives, strengthening diaspora engagement, and developing global partnerships capable of amplifying Lagos’ creative output on international platforms. The meeting explored practical pathways for showcasing the State’s cultural assets, creative talent, and tourism offerings to wider audiences, while aligning these efforts with global media standards and distribution networks.

This engagement reflects the State Government’s broader commitment to repositioning tourism as a strategic economic pillar. By leveraging culture, arts, fashion, music, film, and heritage, Lagos is working to deepen its cultural influence while creating sustainable opportunities for creatives, entrepreneurs, and investors across the value chain.

Operating within the wider development vision of Babajide Sanwo-Olu, Lagos State continues to evolve as a city defined by innovation, inclusiveness, and cultural confidence. The administration’s focus on structured partnerships and global collaboration is designed to preserve the State’s diverse identity while positioning it competitively on the world stage.

Through targeted engagements such as this, the Ministry of Tourism, Arts and Culture is laying the groundwork for long-term growth, increased international visibility, and a creative economy that contributes meaningfully to Lagos’ economic resilience and global reputation.

Lagos State, MTN Partner to Transform Obalende Under-Bridge into Y’ELLO Bus Park

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Lagos State, MTN Partner to Transform Obalende Under-Bridge into Y’ELLO Bus Park

The Lagos State Government is pleased to announce a strategic collaboration with Lagos State Government and MTN Nigeria to redevelop and transform the Obalende under-bridge into a modern, well-organised transport facility to be known as the Y’ELLO Bus Park.

This intervention will reclaim a space long associated with congestion, disorder, and safety concerns, converting it into a functional, secure, and community-focused transport hub. The project is designed to deliver an organised and regulated bus terminal, supported by a recycling drop-off station, a dedicated road camp for Lagos Waste Management Authority sweepers and security agencies, more than 60 public toilet fixtures, kiosks, and other essential amenities that directly serve commuters, transport operators, and nearby residents.

Safety, public health, and visual quality are central to the design. Solar-powered lighting will significantly improve night-time visibility, reduce blind spots, and strengthen CCTV coverage across the facility. These measures are expected to deter criminal activity and enhance overall security within the Obalende corridor. To address sanitation sustainably, a biodigester system will manage wastewater generated on-site, while a dedicated recycling station will help curb indiscriminate waste disposal and promote responsible environmental practices.

In line with the State’s climate and sustainability commitments, the project includes the installation of solar panels to support long-term energy efficiency and lower the facility’s carbon footprint. Tree planting is also planned to improve air quality, provide natural shading, and enhance the overall appearance of the environment.

The Y’ELLO Bus Park represents a broader commitment to reclaiming and reimagining public spaces across Lagos, ensuring they are safe, functional, environmentally responsible, and aligned with the needs of a growing urban population.

Together, we are building a cleaner, safer, and more resilient Lagos.

#ThisIsLagos

Nollywood Hits New Box Office Heights as Funke Akindele and Toyin Abraham Lead a Historic Run

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Nollywood is entering a decisive new phase, one defined by scale, audience confidence, and record-breaking commercial performance. Local films are no longer measured only by cultural impact or critical reception. They are now delivering box office figures that place the industry firmly within the conversation of serious global cinema markets.

At the centre of this moment are two of Nollywood’s most influential filmmakers and performers, Funke Akindele and Toyin Abraham, whose recent releases have set unprecedented financial benchmarks. Funke Akindele’s Behind The Scenes has emerged as the highest-grossing title, crossing ₦2.4 billion at the box office. Close behind, Toyin Abraham’s Oversabi Aunty has also entered the billion-naira club, reinforcing the commercial strength of female-led productions in Nigerian cinema.

These achievements represent more than individual success stories. They signal a shift in audience behaviour, cinema infrastructure, and industry confidence. Nollywood films are now commanding repeat viewership, extended cinema runs, and broad demographic appeal. The results reflect stronger storytelling, improved production standards, strategic marketing, and a deeper understanding of the local audience.

The success of these films is the outcome of collective effort. From producers and directors to cast, crew, exhibitors, and distributors, each contributor played a role in translating creative vision into commercial reality. Just as critical is the role of Nigerian audiences. Cinema-goers who choose to support local films are directly shaping the future of the industry, proving that homegrown stories can compete at the highest level.

This moment marks a clear statement of intent for Nollywood. The industry is no longer only prolific. It is profitable, organised, and increasingly ambitious. With sustained audience support and continued investment in quality, Nollywood’s current momentum suggests that even higher milestones are within reach.

What is unfolding is not a coincidence. It is the result of years of persistence, talent, and belief in Nigerian stories. And for the industry, this chapter is only the beginning.

Awujale stool: Only six out of 95 applications are complete — Kingmakers

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Awujale stool: Only six out of 95 applications are complete — Kingmakers

The Chairman of the Interregnum Council and Head of Kingmakers in Ijebu-Ode, Olorogun Sonny Folorunso Kuku

…say the selection process will be fair

The kingmakers in Ijebu-Ode have disclosed that only six out of between 86 and 95 applications submitted for the vacant Awujale of Ijebuland stool are fully complete.

The Chairman of the Interregnum Council and Head of the Kingmakers, Olorogun Sonny Folorunso Kuku, made this known in an interview with Tribune Online on the progress of the selection process.

According to Kuku, although the selection process has commenced, many of the applications submitted by the ruling families were incomplete, leaving only about six that met the required documentation.

He explained that the kingmakers had already begun their deliberations but were proceeding with caution to avoid any form of bias.

Kuku said, “The families submitted between 86 and 95 names. This may sound surprising, but many of the applications were incomplete. At this point, only about six applications are fully completed.

“The kingmakers have already begun their work. Once we start, we must be extremely careful with our words and actions so as not to appear biased in any way.”

However, he revealed that the Ogun State Government had temporarily halted the process, noting that the kingmakers were yet to be informed of the exact reason for the decision.

Kuku added that the kingmakers were confident that the government was equally interested in ensuring a peaceful and credible outcome.

“However, today (Wednesday), we received a message from the government informing us that the process has been temporarily halted.

“At the moment, we do not know the exact reason for this decision. We are in contact with the government to understand why this happened and how the process can resume as quickly as possible.

“We are confident that the government is equally interested in ensuring a peaceful outcome.

“We are consulting with them, and we believe that something positive will happen very soon,” he said.

Addressing rumors of government interference or attempts to impose a candidate, Kuku dismissed the claims, stressing that the government does not sit with the kingmakers or interfere in their deliberations.

“As kingmakers, we are determined not to accept any imposition. But nothing like that has happened so far,” he stated.

He also clarified that the presence of security operatives around the palace was not intended to influence the selection process but was due to the temporary suspension of the exercise.

Credit: Tribune

Lumumba Assassination Case Returns to Belgian Courts After 65 Years

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Lumumba Assassination Case Returns to Belgian Courts After 65 Years

More than six decades after the assassination of Patrice Lumumba, the search for accountability has returned to the courtroom in Belgium. The case, long regarded as one of Africa’s most unresolved political crimes, is again before Belgian judges, underscoring the enduring weight of historical responsibility and delayed justice.

At the centre of the renewed proceedings is Etienne Davignon, now 93. Davignon, a former senior Belgian diplomat and ex-European commissioner, is facing legal action in Brussels over his alleged role in events surrounding Lumumba’s arrest, detention, and mistreatment in 1961. At the time of Lumumba’s killing, Davignon was serving as an intern at Belgium’s foreign ministry.

The charges stem from allegations that he was complicit in Lumumba’s illegal detention and the inhumane treatment that preceded the Congolese leader’s assassination. While Davignon has consistently denied wrongdoing, his name resurfaced prominently following a Belgian parliamentary inquiry published in 1999. That investigation examined Belgium’s role in Lumumba’s death and concluded that Belgian authorities bore moral responsibility for the circumstances that led to the assassination, implicating several officials by proximity and knowledge.

Building on the findings of that inquiry, Lumumba’s family filed a formal criminal complaint in 2011, seeking judicial accountability rather than symbolic acknowledgment. For years, the case remained stalled within Belgium’s legal system, reflecting both the complexity of prosecuting historical crimes and the political sensitivity surrounding colonial-era actions.

Lumumba, Congo’s first prime minister after independence in 1960, was assassinated in January 1961 at the age of 35, with the involvement of Congolese rivals and foreign actors during the Cold War. His death became a defining symbol of post-colonial betrayal and external interference in African self-determination.

The return of the case to Belgian courts signals a renewed willingness to confront that past through legal means. While the proceedings come decades after the events, they carry significant symbolic weight, not only for Lumumba’s family, but for broader debates about colonial accountability, historical justice, and the limits of time in addressing political crimes.

As the case unfolds, it represents more than a legal challenge against an elderly former official. It stands as a reminder that unresolved history continues to shape present institutions, and that demands for truth and responsibility do not simply expire with the passing of years.

Hannatu Musawa Speaks on Past Marriage to Abdul Samad Rabiu

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Hannatu Musawa Speaks on Past Marriage to Abdul Samad Rabiu

Hannatu Musawa, Nigeria’s minister of art, culture, and the creative economy, has spoken publicly about her former marriage to Abdul Samad Rabiu, chairman of BUA Group.

In her remarks, the minister addressed the end of the marriage with candour, while emphasising that the separation did not sever ties between them. She explained that she continues to share a close and respectful relationship with Rabiu, shaped largely by deep-rooted family connections and a long history between both families. According to her, these shared roots have made mutual regard and continued communication natural rather than forced.

Musawa spoke positively about her former husband, describing him as someone she admires deeply. She noted that her respect for Rabiu extends beyond their personal history, reflecting recognition of his character and accomplishments. She added that she remains proud to be associated with him, despite the marriage having ended.

Her comments present a measured perspective on personal change, highlighting maturity and continuity rather than conflict. By framing the relationship in terms of respect and shared history, Musawa underscored the possibility of maintaining dignity and connection after the conclusion of a marriage.

The remarks also offer a rare personal insight from a serving cabinet minister, balancing public responsibility with openness about private life. Rather than focusing on the failure itself, Musawa’s account centres on mutual regard, family bonds, and the value of preserving respectful relationships over time.

From AFCON to Davos: Why Africa’s Development Must Become Performance-Led

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From AFCON to Davos: Why Africa’s Development Must Become Performance-Led

The convergence of AFCON 2025 and Davos 2026 offers a revealing lens into how value is now judged in two very different arenas, elite sport and global capital. The lesson is direct. Reputation and effort no longer define success. Performance does.

In modern football, legacy carries little weight once the whistle blows. Teams are assessed through data. Expected goals, distance covered, recovery rates, positional discipline, and conversion efficiency now shape selection, tactics, and investment. Decisions are grounded in evidence. Outcomes are benchmarked. Underperformance is exposed quickly and without sentiment. Capital, in the form of contracts, sponsorships, and transfer fees, follows measurable output.

This same logic increasingly governs global finance and development discussions at Davos. Capital is allocated where performance can be proven. Investors, institutions, and partners look beyond ambition statements and historical narratives. They ask harder questions. What systems work. What outcomes are repeatable. What governance structures reduce risk. What data confirms execution.

For Africa, this convergence is instructive. Development can no longer rely on moral arguments, demographic promise, or untapped potential alone. Those narratives may open doors, but they do not sustain investment. Like elite football, development outcomes must now be measured, compared, and priced. Infrastructure must show efficiency. Institutions must demonstrate credibility. Leadership must translate vision into verifiable results.

The implication is structural. Countries, sectors, and enterprises that can define performance clearly will attract capital and confidence. Those that cannot will struggle, regardless of intention. This shift places greater importance on data integrity, policy consistency, and institutional discipline. It also changes the role of leadership, from symbolic representation to performance management.

AFCON reminds us that excellence on the pitch is earned through preparation, systems, and execution. Davos reinforces that the same principles govern global economic relevance. Together, they underscore a simple reality. Africa’s next phase of development will not be judged by promise, but by proof.

Ijebu Chiefs Reject Claims Against Otunba Title Holders in Awujale Succession

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Ijebu Chiefs Reject Claims Against Otunba Title Holders in Awujale Succession

The council of Otunbas in Ijebuland has stated that no law in Ogun State disqualifies holders of the Otunba title from ascending the Awujale stool. The council described recent claims suggesting otherwise as inaccurate and unsupported by history or statute.

In a formal response to assertions that Otunba title holders are barred from becoming the Awujale of Ijebuland, the council maintained that precedent clearly contradicts such views. According to the Otunbas, individuals who previously held the Otunba title have, at different periods, emerged as Awujale, reinforcing the position that the title does not constitute a legal or traditional impediment.

The council conveyed its position in a letter addressed to the Awujale Interregnum Administrative Council. The correspondence emphasised that neither customary law nor existing state legislation contains provisions excluding Otunba title holders from consideration for the throne.

The letter was jointly signed by B. Alebiosu, chairman of the council of Otunbas; Akin Osiyemi, second vice chairman; and Ayodele Osibogun, secretary. In dismissing the claim, the council urged that discussions surrounding the Awujale succession be guided by established tradition, historical record, and legal clarity rather than conjecture.

The statement adds a formal voice to ongoing conversations around succession in Ijebuland, underscoring the Otunbas’ insistence that eligibility for the Awujale stool should be determined by verified custom and law, not misinterpretation or selective readings of tradition.

Churchill Speaks on Reconciliation With Tonto Dikeh, Says Son Called Him “Daddy” for the First Time

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Churchill Speaks on Reconciliation With Tonto Dikeh, Says Son Called Him “Daddy” for the First Time

 

Olakunle Churchill has spoken publicly following his reconciliation with actress Tonto Dikeh, marking a significant turn in a relationship that had been defined for years by public conflict.

The reconciliation was first announced on Saturday by Dikeh, who revealed that both parties had resolved their differences after more than a decade of acrimony. The announcement was widely noted as a rare moment of closure in one of Nigeria’s most public celebrity disputes.

On Sunday, Churchill shared an emotional update via Instagram, revealing that their son, King Andre, had called him for the first time and addressed him as “daddy.” He described the moment as deeply meaningful, signalling a new chapter in their family relationship.

In his message, Churchill expressed appreciation for Dikeh’s role in raising their son, acknowledging her efforts and commitment as a mother. He credited her with nurturing King Andre and creating the space that made the renewed father-son connection possible.

Churchill also affirmed his intention to move forward with a co-parenting relationship built on care, respect, and mutual understanding. He emphasised that the focus going forward would be the wellbeing of their child rather than past disagreements.

The exchange reflects a shift from years of public tension to a more measured and private approach to family matters. For many observers, the reconciliation represents not just the end of a long-running feud, but a reminder of the value of maturity, accountability, and shared responsibility in co-parenting.

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