For this edition of #ThroughMyLens, we spotlight Ugochi Ezekeke, a photographer whose work lives in the space between what’s seen and what’s felt. Through her lens, she invites us to slow down, observe, and notice the stories that often go unspoken.

 When you’re behind the camera, how do you go beyond simply snapping a photo to tell a story in a single frame?

For me, the camera is basically a lens into how I see people. I’m always trying to capture something that feels real and true in that moment. It’s not just about the pose or the setting, but there’s always a split second where someone forgets they’re being watched and that’s what I usually look for. Whether someone is showcasing their energy, making a facial expression or just quite literally being themselves. My job is to notice what others miss and make it visible. That’s where I try to create a storyline between what’s seen and what’s felt.

• How has your personal journey or background shaped the way you approach photography?

I’m Nigerian, born in the U.S., but I’ve lived in Canada most of my life. Growing up between different cultures made me naturally observant. I’ve always been someone who watches how people move, how they interact, the energy in a room. Even back in grade 9, I was walking around filming random vlogs not for it to look cinematic or anything but just to hold onto what life felt like at the time.

That curiosity is still what drives me, especially in how I shoot concerts. I mostly work in live music, and I’m always chasing that feeling in the room; like the moment right before an artist comes on stage, when the crowd is buzzing but nothing’s happened yet. Or a split-second reaction the artist has when they’re looking at the crowd. Being able to capture a real moment before it disappears is very special.

My background taught me to pay attention to the small stuff. Photography just gave me the tool to turn that into something people can actually see.

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• Do you have a guiding philosophy when it comes to your photography? What ideas or values drive you each time you press the shutter?

I try to create space for people to just be themselves. Whether I’m shooting a concert or in a studio, I’m not trying to control the moment, I’m just trying to capture it. As much as I do direct, I’ve learned that people open up when they feel safe and seen so I do whatever I can to make that happen.

For studio shoots, I always bring a speaker and let the person play whatever music makes them feel comfortable. It shifts the energy immediately. Once they’re in their zone, they don’t really focus on the camera anymore and that’s when the real images come through. That respect for people’s space is what guides everything I do.

• What has being a photographer taught you about yourself or even about life in general?

Photography has taught me how important it is to actually see people. Not just what they look like but how they move and what they’re feeling. Most people don’t get to drop the act in their day-to-day life. But when I'm taking a photo of them and they feel like they’re not being judged, there’s like this shift. You start to see who they really are and that’s the part I try to capture.

It’s also taught me to slow down. Life moves fast, but the camera forces you to pay attention to things you’d usually overlook. I think it has made me more present, and more intentional with how I move through life. As someone who’s naturally just curious about life there’s still so much to be seen and captured.

From the iconic Nike X Nigeria World Cup Jersey to the Nike X Club America “Dia de Muertos” collection, Nike collaborations that blend a blush of locality provide a sense of allure and uniqueness that tends to create massive impressions and fascination. Another collaboration has joined the elite caste of monumental cultural wears: the Nike X NorBlack NorWhite collection. India makes history by joining the exclusive club of countries housing an intimate apparel partnership with Nike, establishing a series of brand wears that are specifically designed to exude India’s robust culture and diverse heritage.

Nike partners with Indian fashion label NorBlack NorWhite, an Indian fashion label known for its emphatic cultural clothing styles. The outcome is a manifestation of apparel wonder, complexity, and heritage. The carefully embedded patterns, the mild but emphatic colour tones and varied sporting options speak of intent and meticulous craftsmanship grounded in history—truly a sight to behold. The outfits are inspired by Bandhani, a traditional Indian tie-dyeing technique. Each features a line of specially patterned designs that embeds one or several forms of tie-dyeing techniques.

The collaboration spots cricketer Jemimah Rodrigues and Shafali Verma, wrestler Anshu Malik, and runner Priya Mohan alongside others who unveiled the new campaign. The stunning visuals celebrate women and Indian culture, showcasing a diverse range of apparel options curated for different sports. Nike, of course, took the liberty of creating a set of customised footwear to pair with the outfit. The Nike Air Max Craze, Motiva, Pegasus 41, and Calm Slides were all on full display.

The story behind this collaboration extends beyond Indian cultural depth. It is a feminist manifesto that empowers women to take over the sporting space. Mriga Kapadiya and Amrit Kumar, co-founders of NorBlack NorWhite, tell us that “This collection shines a light on the rigour, dedication, and ancestral knowledge that’s rooted in Indian culture.” Mriga goes on. “We hope each piece inspires women to draw into their own athletic mindset while navigating every day in India and around the world.”  Amrit also asserts that, “We want women to feel strong, stylish, and at home in their bodies, wherever they are in their journey. These patterns, these colours, they’re a statement. Women aren’t here to show up. We’re here to take over!”

The collection is more than just how great the outfit looks. It is a cultural statement that showcases India’s heritage to the global scene. Essentially, the designs are tailored in a way that inspires intrigue and in a way that piques curiosity. So, it makes you wonder what it is and why it’s like that. It tells a story that is unapologetically deshi, and with it comes a sense of empowerment and responsibility to represent. “What really hits different about this collaboration is that it was designed here, by people who get our vibe,” Jemimah says. “Wearing Nikes laced with Indian culture is a flex. It’s bold, rooted, and it’s ours.”

Nike continues to embody its philosophy to continually redefine brand culture through thoughtfully curated campaigns and collaborations. The Nike X NorBlack NorWhite collaboration is a historical monument that represents Nike’s distillation of storytelling through clothing and accessories. It is a fashion moment, a cultural awakening, and a partnership that may potentially be the first of many to come. This collaboration showcases how the intersection of culture and sports can create avenues to tell the world who we are, what defines us, and where we come from.

JD sports and Exposure provided an amazing opportunity for Deeds Magazine to come down to an exclusive launch. JD, being such an influential brand to UK culture as a multi-national sports fashion retail company that sells some of the biggest sports brands in the world, we were honoured to attend the grand opening of the biggest JD store in the world in Manchester’s infamous Trafford centre. It was also an insight for us to view the new infamous Nike Air Max 95’s.

Capturing the two-day trip over on the day of the Friday we attended JD held an exclusive intimate performance from UK’s rap juggernauts: Central Cee (global charting West London’s finest) and Manchester’s very own Nemz. When I first entered the store, not only was I bamboozled by how huge the place was but with the sections the store provided. From having a barber shop inside, to a custom shoe section where you can get your shoe customised with different initials. As well as seeing the Nike Air Max 95’s;  the colour range was the classic style Nike always delivering at its finest. 

I just loved the performance provided by Central Cee and Nemz, it was a great spectacle to witness and see in the flesh. The day of the grand opening was here. Early at a 9.30AM start, JD came with a great surprise to provide their fans and lovers a display of bringing the best UK personalities and Youtube sensations together. Hosted by Chunks himself, alongside the amazing Beta Squad (Niko Omilana, Sharky, AJ Shabeel, Chunkz and King Kenny), the energy levels were off the roof. JD fans gathered around with anticipation, witnessing the very moment with Chunkz and the boys from Beta Squad, they then had another surprise; bringing out the king of the 100M race track, the legend of all legends and record-breaking Usain Bolt! 

I was sprung by the fact how JD organised such an astonishing sequence providing their fans and adorers a moment never to forget. They even did a small relay 100M race between two teams to amp up the crowd with more energy and hype! The winners received big JD vouchers and it was a moment to never forget for the young winners who participated in such a great event. Once inside, I then witnessed the numerous activations that went around. People were provided free haircuts, Puma doing a 100M sprint challenge, Adidas and other brands had such fun activities people were spoilt for choice. Even inside they were throwing out free vouchers. Seeing the happy smiles and faces of the kids and other generations was a charming moment. 

JD’s continued supremacy will go on to mark greatness by bringing the culture together; giving the old and new audiences more happy purchases to have and as well, leading the mark to be the best multinational store in the UK and globally too.

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As we enter Pride Month, in celebration of the LGBTQ+ community across the world, who historically endured and continue to endure discrimination and violence due to their sexual orientation, it is important to highlight tales in support of their stories and amplify their voices. No matter what choices people make about their personal lives, we leave all judgments to the Most High, and we are encouraged through all holy books to treat each other as we wish to be treated.

In this article, we will take a look at a selection of books you can read throughout Pride Month to explore this topic and occasionally directly support LGBTQ+ writers who were brave enough to share narratives often debated and silenced in African communities and beyond. While not every author on this list identifies as queer, they have mastered the ability to portray queer stories that speak to the hearts of numerous readers globally.

Where You Go, I Will Go by Christina Fonthes

Released on May 8th 2025, ‘Where You Go, I Will Go’ by Christina Fonthes is your perfect starter of this month! The book follows one family, yet two different generations; namely Mira in the 1980s and Bijoux in the 2000s. While one resides in the Congo, the other is part of the diaspora community abroad, and we get to observe how coming out as a lesbian in a country or a household can be as much of an internal as an external struggle. Not only are you supporting a queer emerging writer, but you get to dive into a tale that penetrates the historical context of queer Africans and how it has shaped into the identity of today.

Blessings by Chukwuebuka Ibeh

Published in February last year, the debut ‘Blessings’ by Chukwuebuka Ibeh is still marked as a breakthrough in contemporary African literature. Entering in the world of a young Nigerian man growing in a society that prohibits his sexual orientation, one can truly envision what it takes to be true to oneself despite the sacrifices one must make. Moreover, the book really emphasizes on how much it is a life-long journey, at first having to face family members, classmates, to your very own government and your people as a result of set laws against homosexuality. This would make for a perfect reading adventure this particular month.

God’s Children Are Little Broken Things by Arinze Ifeakandu

Unveiled to the world in 2022, ‘God’s Children Are Little Broken Things’ by Arinze Ifeakandu is truly a national treasure. A collection described as "stories about the joys and tribulations of queer love in contemporary Nigeria," through intricate short-stories, Arinze retells the life of Nigerian men. And questions whether the heart can preserve its purity, while facing societal adversity. This book forces one to reflect through stories of its subject, making it understandable why it won the Dylan Thomas Prize in 2023. Surely, the choice of either following one’s heart or staying inside the closet is something we can all relate to and is one of the many reasons this book should make your list this month.

Giovanni’s Room by James Baldwin 

Known as a classic in the literary world and an even more renowned queer author at his prime, ‘Giovanni’s Room’ by James Baldwin takes you on a trip back in time, following the love story of an American man named David who lives in Paris and his affair with an Italian bartender Giovanni. Although engaged to a woman, David can not keep away from his secret desires, while trying to maneuver societal expectations. Even though this book takes place in a different time, its content is very much relevant and gives us insights into bearded marriages or relationships and why one may undergo this alternative.

The Color Purple by Alice Walker

Yet another all time favourite to readers around the world, ‘The Color Purple’ by Alice Walker is a tough read; however a life-changing one if you dare to take a leap of faith. First published in 1982, which makes it the second oldest book on our list, tackles themes still relevant today such as gender violence, forced marriage and more. In Particular, we get a glimpse into a transformative interaction between Celie and Shug Avery, both women that can be categorized as bixsexual, lesbians and non-binary identities. Their romance is short-lived, but so impactful that it causes drastic changes in each character. This is a great opportunity to read about queerness before it was forged into the strong voice it is today.

1. Can you tell us about your upbringing in Lagos and how your environment shaped your creative journey? I’d say my parents played a bigger role in shaping my creative journey than the city itself, especially since I didn’t always live in Lagos and moved there later on. But no matter where we were, I’ve always felt like myself creatively. They gave me the space to explore whatever I was curious about and really encouraged me to give my best in whatever I chose to do. That kind of creative freedom led me to fall into a bunch of different hobbies over time, from music to art to fashion and all of those experiences now feed into how I create.



2. You split your time between Lagos and New York. How do these two cities differ in terms of fashion community, energy, and opportunities? New York and Lagos are really on the same frequency when it comes to having a fashion community. There’s a lot of passion, and I see just as much love for fashion here as I do back home in Lagos. The real difference is accessibility, infrastructure and the amount of opportunities there are for people to deepen their skills/knowledge and start houses. The talent is already there.



3. Music seems central to your work—your "Dance Continues" collection features a glowing treble-clef motif. How did music first become integral to your design sensibility? I wouldn’t say music is always at the core of my work, but for my undergrad collection, it played a major role. The glowing treble clef was one subtle way I chose to reflect that connection visually. Music really heightened my design sensibility  because, like design, it’s something that’s carefully built and layered with patience. It holds history, emotion, and movement all at once. Working with sound in that way also taught me to trust the process more, to let things unfold and evolve, rather than forcing them into shape.

4. As both a designer and a DJ, do you find that your sets inform your sketches (or vice versa)? Can you share an example of a time your music selections inspired a garment? For me, DJ-ing doesn’t directly inform my design process in a literal way-  like a set inspiring a specific sketch. But what does happen is, when I’m digging for new music, I often come across artists who inspire me beyond just sound. I get curious about their style, the era they were part of, and how fashion played into that world.That always sends me down a rabbit hole - and those visuals or styles eventually find their way into my creative process.

5.. What's your process when you build a new "look" or mini collection? Do you start with a beat, a sketch, or a concept? That’s actually a really interesting question because for my last collection, making a song was literally part of my process. Once I decide on a direction I want to explore, I go all in. I surround myself with anything that connects to it , music, film, visuals - whatever helps me fully immerse in that world. I think I naturally work on everything at once, kind of subconsciously blending it all together which can be a lot at times . But over time, I’ve realized the importance of having some structure, especially when there’s a deadline involved, lol.



6. How do you balance sculptural or avant-garde elements with wearability? Who do you envision wearing your pieces? A lot of my sculptural work starts on the body. I have the model wear a base garment and then I start building around the body, so that even with movement, the garment is still functional. A lot of my sculptural work starts directly on the body. I’ll have the model wear a base garment, and from there, I build around them - shaping and adjusting in real time, so the piece responds to movement and still feels functional because I don’t believe that wearability should mean sacrificing imagination. It’s really about finding that balance where form and function speak to each other. I design for people who see clothing as a language and a way to express confidence, emotion, or intention. Storytellers, really. People moving through the world and using what they wear as part of their narrative.



7. As a designer from West Africa now navigating a global fashion scene, how do you see your identity informing your brand's voice? When I think of how being West African informs my design voice I think although there’s glimmers of visual influence, it’s more of an intrinsic one, rooted in attitude and the idea of having a presence. There’s this unspoken confidence in the way people back home dress. Being the best dressed in the room doesn’t always mean wearing the loudest outfit, but wearing something that also feels powerful to you. It’s about dressing for yourself first — to express individuality,  not to impress or conform. That mindset definitely shapes how I approach design.



8. When you play a DJ gig, do you ever wear your own creations on stage? How does it feel to literally embody your art in front of a live crowd? I get asked this a lot, and it’s funny cause honestly, not yet. I haven’t really worn my own pieces while DJing. I think it’s because I genuinely just love dressing other people ,helping them feel powerful and confident in their bodies ; so I rarely prioritize making things for myself. That said, every now and then, if I have a last-minute party and absolutely nothing to wear, I’ll whip something up. But even then, it’s more out of necessity than intention. I think the moment I step on stage fully dressed in my own work will be a special one.

9. Do you incorporate sustainable or ethical practices into your design or production process? Are there specific materials or techniques you're excited to explore next? Sustainability is definitely something I’m becoming more intentional about as I grow as a designer. Right now, I’m being more mindful of what and how I create.I think sustainability isn’t just about materials , it’s also about the mindset behind the work: creating things that are meant to last, be loved, and tell a story over time. I’ve been experimenting a lot with environmentally friendly liquid latex to develop my own textiles, which has been such an exciting process. It gives me full creative control and opens up a door of endless possibilities. I first used this technique in The Dance Continues, where I incorporated scarification motifs and the results were beautiful .

10.. What's coming next for SAE? Any upcoming collections, DJ residencies, or city-based initiatives you can share?

Lately , I’ve been focused on bridging all my interests in a way that still feels true to me. I’ve always envisioned myself on a path where music and fashion work seamlessly together’ feeding Into each other .  Right now, I’m working on the first collection for my brand which I'll be releasing soon. It’s really just going to be an embodiment of everything I love/ enjoy doing and I’m really excited to apply the knowledge I have towards building a world . Over the summer I’ll definitely be doing a lot more too cause at the end of the day it’s something I respect and love doing.

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On Saturday night, the 24-year-old superstar brought his HEIS World Tour to the O2 Arena in London, welcoming 20,000 people to his presence. From the opening drop to the final bow, the Benin-born artist delivered a high-octane, performance people described as best known to our generation. 

Rema’s sophomore album HEIS, released in July 2024, introduced a darker, more experimental side to the artist. While his global smash “Calm Down” with Selena Gomez established his pop credentials, HEIS is a different beast; part dreamscape, part confessional, steeped in bold sonic direction.

At the O2, that mood was fully realized. The stage design evoked a dystopian fantasy world, incorporating his Edo background with futuristic textures—think mist, fire bursts, masked dancers, and blood-red lightwork. It has become the staple experience when watching Rema live. 

The crowd roared when J Hus emerged midway through the show, grinning as the two artists traded verses and salutes. Moments later, D’banj appeared, launching the vibe into full throwback mode, while Buju and Darkoo added to the lineup of unannounced guests.

But Rema still managed to outdo himself: at one point, he gifted a fan a Birkin bag live on stage, a moment that instantly went viral across X and TikTok. The gesture, equal parts flex and love note to his audience reinforced what fans already know: Rema loves his babes. 

While the official setlist hasn’t been released, the show leaned heavily into HEIS, with standout performances of ”Baby (Is It a Crime?)”, “MARCH AM”, and ”Bout U”, interspersed with crowd-shaking classics like “Soundgasm,” “Ginger Me,” and, of course, “Calm Down.”

His vocals were sharp, his movement precise, and the energy unrelenting. The O2 may have seen bigger pyrotechnics, but rarely has it seen this kind of cultural authority from a Nigerian act.

This wasn’t Rema’s first time in London, but it might’ve been his most complete. The city showed up dressed in mesh, leather, and sheer fabrics; there were Damson Idris sightings, Mavin Records in full force, and style blogs already calling it “the best-dressed crowd of the summer.”

By the time the Rave Lord exited the stage— shirt off, sweat dripping, grin wide. It was made known that HEIS is a connective experience, and we’re all living in it now.

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Heartbreak, like grief, is unflinching in its tyranny because it forces you to feel the full weight of an absence. Someone who had been a constant fixture in your life, with whom you shared countless moments—good and bad ones, exhilarating and austere ones—someone whose presence swaddled you like a blanket on a baby, is suddenly lost to the void, estranged from you. One moment your futures feel inextricably linked, and the next you’re strangers forced by fate into diverging paths. Heartbreak is cruel! 

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The process of moving on from a heartbreak is similarly cruel and complicated. It’s less a sequenced progression—as is typically depicted in the media—than a convoluted whorl that can often leave you adrift. You could spend months healing and working on yourself (as self-help gurus typically advise), only to happen upon a picture of your ex on social media which unravels your months of hard work. A deluge of old memories floods your brain and soon you’re back writhing in pain and wondering if, at the cost of your dignity, you should maybe text them one last time and see where things might lead. 

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Much of the pleasure of Obongjayar’s Paradise Now derives from its frankness—how it provides a panoramic view of the messy process of getting over a heartbreak. In the album’s opener, It’s Time, a propulsive Alt-Pop song that mostly finds him in an airy falsetto, he paints a visceral picture of heartbreak. Over a beat that is in turns placid and riotous, he describes the depth of his pain with lyrics that could easily serve as a prose poem: “I walk around with my head on a swivel/ It’s hard trusting in anything.” He then proceeds to chastise himself for his self-victimization, “No more wearing my head down/ Hurting myself more than you hurt me.” Somewhat expectedly, by the time we reach the chorus, he’s belting in a mesmerizing head voice about his intent to move on. “I think it’s time I pick up the pieces,” he declares. 

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Despite his soaring message in It’s Time, by the second track he’s back in old patterns, reminiscing about his ex with lyrics that are at once haunted and macabre. “Why did you leave me? You weren’t here/ Blood on my teeth, sand in my hair/ I’m on my way home, but I don’t want to be staring down the barrel of a gun.” It’s graphic, and dangerously visceral, but this verse aptly describes the mind-numbing torture that heartbreak often brings about. By the second verse, he mulls the dichotomy between his outward appearance of normalcy and his embattled internal state. “How to tell them I don’t feel amazing/ How to tell them I’m still fucked up/ Drink myself silly, hope they can’t see me?” He asks.

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Anyone who has trudged through the doldrums of a messy breakup will probably relate to this all too well. After a breakup, one is typically faced with a halo of pressure—both from oneself and from loved ones—to move on, to pick up the pieces. You can’t possibly spend the rest of your life wallowing in self-pity, they often say. But the heart is an obstinate mule, it moves at its pace, on its terms. And so what often happens is that to satisfy external pressures, on the world one pretends to have moved on whilst continuing to battle old demons internally. 

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The intervening tracks mostly find him negotiating the often glossed-over complexities of moving on. But by Instant Animal something radical happens. He seemingly transforms from a wounded animal to a possessed shaman. By way of guttural trills and curt chants, he declares his ascendancy. By Born In This Body, which is two tracks removed from the final track, he attains catharsis. We are suddenly transported to a world of overwhelming tranquility as he delivers a treatise on body positivity and self-acceptance. 

By the final track, Happy Head, it’s obvious that he has made peace with his demons, and that having traipsed through the seven stages of grief, he’s finally on his path to recovery. “Slow down,” he sings, apparently to himself and the rest of us, “You’re burning out/ You’re truly your mother’s child/ Can’t be everything at every time.” After a kaleidoscopic album that often tested the limits between pain and pleasure, he closes the album with a simple charge: Make yourself happy.

For Sudanese photographer and creative documentarian Rimaz Yousif, photography is more than capturing an image—it’s a way of preserving culture, movement, and emotion across borders. Her lens has quietly and intentionally followed some of the most important moments in African music’s global rise, creating an archive that doesn’t just reflect who was on stage, but the stories behind the spotlight.

What inspired your latest project?

• I’ve been an avid visual documenter of artists who graced the greater Washington DC area through pop shows and tours, sitting at the intersection of music, culture, and visual arts. Within the last 2 years, my focus has largely been documenting the rise of African artists in the diaspora breaking into Western markets by capturing headliner acts in spaces, venues, and events that are booking African talents. As I have been working on complying exclusive images that have not been shared on socials before throughout the shows I’ve attend, I most recently shot Spinall in Washington DC where he headlined a local collectives event - FirstWeDanceGlobal - for the first time capturing the crowd’s electric response to a prominent figure in the Afrobeats scene who is known for his versatility and ability to blend various genres. 

• How did you get into your creative field? 

• I grew up traveling my entire life and was always actively taking photos of places my family and I moved to and vacationed frequently. It was a natural hobby that was birthed from my love of visual arts, travel, music, food, as well as freezing moments in time that essentially depicted history.

• If you’ve grow up in a traditional household, you can relate to the creative field being perceived as hobbies/talents that are balanced on the side while pursuing careers that are traditionally viewed more as “stable” in engineering, business, or the medical field. While my parents are progressive and supportive in any avenue I want to pursue in my career, they humbly encouraged me to set a business foundation for myself as a starting point. Eventually, I found myself being at the intersection of two fields I am passionate about after receiving my MSci - Sustainability in International Development & Photography. Having both parents working in international development at the UN, I knew I would be balancing the best of both worlds while now working at the World Bank in Washington DC. 

• Can you describe your creative process?

• I like to describe my approach to photography/my creative process as showing the world what I see when I attend shows/concerts and/or when I am seeking to shoot a particular artist who is - for example - embarking on their first tour as an independent artist across the U.S. It’s about freezing moments in time that otherwise aren’t captured or missed out - keeping in mind that moments on stage are just part of the story of an artist having a show in a particular city or country. Extending those moments past the stage showcasing the before, the during, the after, even years later is what I aim to showcase through upcoming projects and the more I continue to be in spaces where I’m capturing artists in their legacy. 

• ⁠Are there any projects in the works that you would like to share with us ?

• It’s been a dream of mine to publish a photo book series showcasing all my work and unreleased images throughout the years of me shooting artists. I am working on publishing my first photo book that will have a focus on spotlighting African artists across the diaspora that have graced multiple Western markets across the UK and the US.

• Eventually, this photo book series will have different regional and genre focus that intersect with myself being a Third Culture Kid having grown up in a variety of countries outside of my home country of Sudan. Most importantly, as a Sudanese visual creative, I am aiming to also include in my photo book series a photo book dedicated to Sudanese talent, creatives, musicians I have documented over the years as an ode to my country with proceeds supporting grassroots food banks and charities aiding victims of the ongoing war/genocide in Sudan as well.

A new event is about to take place in West Africa, and Nigeria is poised to be the first country at the centre of it. Afro Samba is coming to Nigeria! For the first time ever, Nigeria will host the vibrant and elusive musical festival. We can expect nothing but electrifying, pulsating, and emphatic celebration of vibes, rhythm, and culture. The festival would be set in Lagos, Nigeria’s creative and musical power house, setting the tone for a truly immersive, musical experience.

This collaboration brings a lot of prospects with it. The festival may be the start of many more collaborations to come, establishing a more intimate relationship with the brand and Nigeria. Afro Samba is no stranger to the Nigerian music scene—steady music replays, working with several notable acts like Teni, Fave, Yemi Alade and many more. Afro Samba is an agency for the diversification of Nigerian music, and this event might be that key piece that ties the knot together. Interestingly, the collaboration may also create a new buzz behind a novel music genre. Samba music is not exactly at the forefront of Nigeria’s genre choices; however, this collaboration will create some awareness, possibly bringing an epiphany of Samba music to Nigeria.

The anticipation is exciting, palpable to say the least. Those in the space are buzzing with excitement and enthused to see just exactly what this experience will bring. We know that Afro Samba is more than just the music; it is about intimacy—connecting on a level beyond the mechanics of just listening to good music and dancing. It is a cultural reckoning, the crossroads between two densely rich, compelling sounds.

“We focus on intimacy and intention.”, said Afro Samba representative. “Afro Samba isn’t about spectacle—it’s about vibe, feeling, and community. The blend of live music, Djs, and diasporic sounds from West Africa to Brazil creates a unique energy. It’s rooted in heritage, but open and playful—that’s what defines us.”

This highlights what the brand stands for and ultimately, what differentiates them from other brands. Afro Samba is predicated on creating experiences creating connections to people around you, to the music, and to the event. Essentially, it unapologetically prioritises your feelings and impressions, truly a brand that cares for the community.

 As Nigeria prepares to witness history, music lovers, creators, and everyone within the spectrum wait in eager anticipation. It’s evident that this event would be more than just a night out. It is a cultural statement, a catalyst for the first of many. Music is an integral part of Nigeria’s cultural identity, and with pulsating sounds such as Highlife and Afrobeats, dancing is an inherent part of its cultural ethos. Afro Samba is aware of Nigeria’s propensity for a great time and seeks to be a part of that.

Afro Samba invites you to come network, dance and party—to be a part of the first ever, to be a part of the story. Afro Samba is a movement, a reminder that our music should not be sequestered, but be echoed across the world.

“Streamer University,” the Kai Cenat-organized event that was held on Twitch, was anchored on a simple premise: what would happen if you corralled an eclectic group of streamers—precisely 120 participants—for a program that simulates the traditional university experience. But instead of the standard four-year period most college degrees take to complete, the program would be collapsed into four days. And instead of pedantic, stiff-necked professors, the courses would be taught by young content creators from across a slew of content areas. To this end, Kai Cenat enlisted several public personalities—including CookingWithKya, DDG, India Love, Duke Dennis, and Marcus King, amongst others—to serve as “professors” to the participants. 

The trailer to the program foreshadowed the dreamy surrealism of the four-day program. In it, two students skulk around a dimly lit gas station in search of possible clues about the location of Streamer University. Just when they give up hope of finding the location, a hovering train magically materializes and whisks them away to a cluster of medieval-looking buildings garlanded with banners emblazoned with the university’s logo. The whole thing barely makes any sense or follows a cogent narrative sequence, but it makes for a supremely entertaining watch. In a sense, this is an apt description of the actual event. The program was an unrelenting barrage of events. At every point, every moment, something major was happening. 

Expectedly, many found it to be overstimulating. Pause to consider the enormity of the event—a hundred and twenty streamers from different demographics, each with their streaming setups, jousting for a share of the spotlight. Kai Cenat himself, at the close of the program, griped about being overwhelmed by the intensity of it all. Notwithstanding, the pulsing energy of the show resonated with most, as reflected by statistics the show garnered. The show was watched for some 23 million hours. By some estimates that’s the equivalent of 2750 years of content.

Putting numbers to the side, the program is perhaps the most innovative initiative the still-nascent global streaming industry has seen. It invites us to reimagine the current stilted shape of contemporary academia. Content creation, in its myriad forms, is one of the fastest-growing occupations in the world. These days, most institutional organizations come retrofitted with a content team, or in the worst-case scenario, a lone social media handler. This reality notwithstanding content creation remains an afterthought at most universities, to say nothing of more ultra-orthodox universities who don’t so much regard content creation, and adjacent disciplines, as being worthy of being considered even as a semester course. Against this bleary background, Streamer University posited an alternative vision; one in which ”content is king,” to borrow the words of Kai Cenat.

The show's boons extend beyond serving as a metaphor for a more inclusive academia. It directly conferred the participants with new skills and offered these streamers—some newbies, others more experienced—an opportunity to network in a low-stakes setting— It also directly contributed to the surge in popularity of the vast majority of the participants. Shank Comics, one of the two Nigerians who were tapped for the program, crossed the 90,000 followers threshold during the program, becoming the most followed African streamer on Twitch. India Love, who arrived at the event with some four thousand followers on Twitch, left with nearly half a million followers. 

Virtually every single participant reported a significant boost in their numbers. Caiuwus, one of the smaller streamers, entered the program with some 2900 followers and left with around sixty thousand and counting. In a clip in which she reflects on her growth with Kai Cenat, her mouth is drawn into a mirthful smile as she says “Your life can change overnight.” It’s one of the most heartwarming moments of the show. Hearing Caiuwus speak, Kai Cenat tries to keep a straight face, as a show of meekness, but his joy seeps out, a gentle smile escaping his mouth. 

Despite the myriad positives of the show, it was not without incident. Throughout the program, Cenat visibly struggled to keep a rein on the “students” and “professors” alike. And soon the whole thing started fraying at the seams, devolving from a facsimile of a university to a chimeral cross between a reality TV show and a teenage sitcom. Students skipped classes en masse. At one point, DDG, an instructor at the club, carted off a majority of his class to a club located outside campus, and it took Kai Cenat’s intervention to get them back to class. There were reports of students banding together into gangs. There was also a fight and several minor skirmishes, as well as reports of bullying. At one point, the streamer Caiuwus broke down in tears and resolved to quit the program after being bullied by another girl on the stream. She later rescinded her decision after an outpouring of love and support from Kai Cenat, India Love, Ray, RaKai, Deshae Frost, and others. 

The most trenchant problem however was the participants seemed to segregate themselves into “castes” based on perceived social hierarchy. In today’s world where marginalized people continue to fervently rail against institutionalized discrimination, this dynamic cut too close to the bone and consequently prompted the ire of viewers who were galled. The main upshot of this dynamic is that while all the participants recorded some degree of growth in popularity the already popular streamers were able to parlay each other’s popularity into greater numbers. So, the biggest streamers and public personalities ended up as the biggest winners, while the smaller streamers, who needed the platform the most, were left scrounging for scraps. This, as well as allegations of favoritism and concerns about the selection process, have stirred intense criticism towards Streamer University, so much so that Kai Cenat has said he would not be hosting another edition of the event. 

Criticizing the event for its shortcomings is commendable, it’s also important to ask ourselves why the show’s social dynamics have stirred so much discomfort. Why is it so uncomfortable to watch 120 streamers divvy themselves into groups based on loose definitions of class? A moment of introspection will reveal that this is because all of this mirrors our reality a little too closely. In most parts of the world, the wealth gap continues to widen. Those at the bottom of the economic ladder continue to slave away for the richest one-percenters, even as overt discriminatory practices evolve into covert, more sophisticated ones. 

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We are triggered by the politics of the show because it mirrors our world with bracing precision. We came to the show with gleeful anticipation only to be treated to an unwitting social experiment. It’s however important to note that none of this was intentional, Kai Cenat, when convening the event probably had no idea it would pan out in this manner. Likewise, it’s not as though the participants were following a sinister plan. It’s simply human nature to form clusters and a lot of the time the basis of these clusters has something to do with class and politics. This should call for sober reflection. As a society, having been treated to this very amusing social experiment, it’s important to understand how easy it is to set up new unjust systems even as we clamor for the decimation of existing ones

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What inspired your latest project?

Solitude. My latest project was titled “Renaya”, and is aseries of 10 sketch-like paintings documenting the solitary contemplations of apersonality named “Renaya”. The idea is to make the viewer understand that intheir moments of solitude, when they seem the most alone – especially inmoments when they are contemplating change – they are really not alone, asRenaya is in her room alone, too, by her window, experiencing the same things.

I intend to give my viewers a sense of shared companionshipwith humanity, so their solitude doesn’t necessarily translate to loneliness orennui.

The works were done in ink, acrylic, pastel, and newspaperclippings on watercolor paper.

How did you get into your creative field?

I was never really out of it. I have been making art since asfar back as I can remember.

But if you mean as a career, I got into being an artist as acareer in two phases;

Firstly, by a seeming lack of options (I wanted to be a medicaldoctor, but that wasn’t working. So, I remembered I could draw, and I could make some money from that. This was 13 years ago. I was seventeen, and in 200Lstudying Agriculture).

The second phase was 5 years later, when I quit my 9-5 as a creative writer at a media & tech company in 2016 to face my art full-time. I could no longer work an office job, as I was convinced it would drain my souland literally kill me.

Making art on the other hand, came naturally to me. I havebeen a full-time artist since then.

Can you describe your creative process?

I am mostly inspired by the human condition, and I seek to inspire awe, and drive curiosity. Sometimes, I treat these two as mutually exclusive concepts during conceptualization, and sometimes, I treat them as one and the same thing.

When I intend to inspire awe in my viewer, I do so with figurative paintings on befitting backgrounds – in a manner that makes the viewer feel seen on a scale that is larger than life, hence reminding them oftheir own importance. More like Ayn Rand’s characters in her novels, and along the lines of her objectivist philosophy.

When I intend to drive curiosity, it is a little more complexas I could use a more diverse range of visual representations. But my purestform of driving curiosity with no intention of doing any other thing; is me makingabstract works using acrylic layers that create a sense of adventure and purecuriosity in the viewer. More in the line of the “Abstraktes Bild” paintings by Gerard Richter.

Many times, I combine these two intentions by figures on complex backgrounds, sometimes even infusing poetry and philosophy in obvious text.

I work mostly in acrylic on canvas. And for my sketch-like paintings, I also use ink, pastel, and mixed media. Most of my work is done in my studio, and I mostly use real-life models for my figurative work.

Do you have a favorite piece of work you’ve created? What makes it so special to you?

The piece that comes to mind is “Untitled I”, I painted it in December 2023, and I sold it to a collector on the 1^st of January,2024. It’s the first artwork on my Instagram page. I love it because it was the first artwork I painted after my debut solo exhibition titled “Fountainhead” in2023, and it so adequately symbolized the beginning of something new and different for me and my work.

Are there any projects in the works that you would like to share with us?

Yes, it’s called the Chachakilla project. It is my bold mission to foster African unity and create an Afrikanist heritage by painting monumental, visually striking murals —24 feet tall — across all 54 African countries. Each mural would blend figure and fabrik, very much like my “Untitled” series; to celebrate indigenous identity, pride, and the shared memory of the continent. These murals would beenhanced by AI, augmented reality, and interactive storytelling.

We have moved past the ideation stage, and are currently in the process of seekingout partners. All the details can be found on my website; www.inioluwa.art

Appearing in the centre of the O2, Lil Yachty set the tone as the crowd prepared for Tyler The Creator's arrival. His 45-minute set consisted of opening up mosh pits and energising the crowd in a way that can be described as controlled chaos, where everyone was united in the shared experience of the music. 

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Running through a string of his songs throughout his discography, the crowd was not just with Yatchy but also fully immersed in the energy he was radiating, going vibe for vibe from the start to the end of his set. As an opening act for Tyler, it may seem like a bit of pressure to get the crowd ready; however, this was an easy task for Yatchy, who could deliver on all fronts on the task set for him. 

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His 45-minute set included a mix of his popular and lesser-known songs, showcasing his versatility and range as an artist. Solo Steppin Crete Boy, Pardon Me, Yatch Club, One Night, Drive Me Crazy!, WE SAW THE SUN and A Cold Sunday, to name a few songs, were performed with a unique blend of energy and emotion, leaving the crowd in awe. 

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The energy and attitude of Yatchy toward his fans were not just laced with gratitude, but they were a testament to his appreciation for their support. At the end, he gave thanks to Tyler The Creator as well: “Each and every one of you who chose to come and see me when you could’ve been getting a drink or using the bathroom,” he said before he wrapped up his set. He also shared a word of love and  positivity before parting with the crowd: “When you wake up in the morning, spread love and positivity.” This expression of gratitude and love left the audience feeling appreciated and valued. 

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Ultimately, Lil Yachty achieved his goal of setting the stage and generating energy for Tyler as the crowd was left buzzing and more than ready for the rest of the show

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Kwate is an Afrobeats star from Edo State, Nigeria. Known for his emotionally charged lyrics, gritty comeback story, and magnetic stage presence, Kwate fuses raw street inspiration with spiritual undertones. After surviving a life-altering accident, enduring an 8-year hiatus, and suffering personal losses, he triumphantly returned to the spotlight, recently winning Dynamic Artiste of the Year (2025) at the Rainbow Hall of Fame Awards.

His new single, “Usain Bolt,” is a high-energy, soul-lifting anthem inspired by his personal story of pain, perseverance, and divine speed. The track is already gaining massive traction across streaming platforms and social media, cementing Kwate’s comeback as both powerful and poetic.

After years of intense setbacks including a tragic accident, multiple evictions, relentless job hustles, and even incarceration. Kwate experienced what he calls a divine turnaround. The song symbolizes how quickly life can shift when grace meets preparation. Named after the fastest man on earth, “Usain Bolt” is a powerful metaphor for speed, recovery, and faith in motion.

“I’ll be the next big Afrobeats artist in the Diaspora and the first artist to blow in recent days without stepping into Nigeria and I want to say it’s the Grace of God on me and the team behind me. Shoutout to fame and fortune Gang ” Kwate claims.

Kwate adds, “I think it’s fun to be able to break that stereotype and to be like, no, I’m actually making music all the way from the States and taking over the Nigerian entertainment scene one project at a time.”

He reflects on the digital age of music, “It’s interesting how social media has ended up playing such a big role in the music industry in this day and age.”
While Kwate gives credit to his incredible team, hard work, and dedication to his social media strategy, he is quick to add:

“Don’t get me wrong, I’ve seen a lot of Afrobeats artists spring up from social media, but it should only honor the music, not be the major focus.”

For Kwate, social media should complement the music, not dictate it.

“Sometimes I think people end up trying to find ways to make TikTok-worthy music, or music that will trend on TikTok. And I think sometimes that takes the heart out of the music. It has to start with authenticity. If you can feel like an artist is being honest and true to themselves… I think that’s what we, as human beings, can pick up on, even if you don’t know them personally.”

“Usain Bolt” is out now. Inspired by pain, recovery, and divine speed, it’s a testimony. This is Kwate’s resurrection. He creates music that is not only real, but award-worthy

Annan Affotey is an artistic force with a presence as grand and as robust as his creative representations. He is an artist with a distinctive aesthetic, both in his artistic conceptualisations and material actualisations. The textured brushwork, striking portraits, teal-tinted black, and cleverly embedded unpainted elements—the white distinctions—epitomise his artistic idiosyncrasies. Affotey’s works are both deeply personal and culturally rich, encapsulating moments and experiences through representations of people and animals. Annan's paintings invoke awe, depth and artistic complexity.  

What inspired your latest project?

My last project was with Netflix, actually. I collaborated with them on their TV series Top Boy. One of the show’s leads, Dushane, really inspired me. I painted him sitting on a couch in his mother’s living room. That was my most recent work, and it was a powerful experience.

How do you usually get into your creative flow? What sparks that moment for you?

It always starts with images. I go through dozens, sometimes hundreds of photos, looking for the one that speaks to me. Once I find it, I sketch it out and transfer it to a canvas. Then comes the texture—I use a lot of it. I build up layers, let them dry, and then I begin painting. I always start with the eyes, and I always end with the eyes.

How long does it usually take to complete a piece?

It depends. If I’m working on just one painting, it could take me two to three weeks. But if I’m working on two or three at the same time, I can sometimes finish them within the same timeframe. It’s all about the energy and the flow. Some pieces take longer than others based on complexity, texture, and scale.

Speaking of scale, your works are massive. What’s the largest piece you’ve done?

The biggest piece I’ve ever worked on is 12 feet by 9 feet. It’s titled Three of a Kind, and if you’ve seen my Instagram, you probably know it. It features two men standing next to a cat and a dog. That one was a challenge but a good one.

Do you have a favourite piece you’ve created? One that means the most to you?

Absolutely. It’s called Paul and Norma, and it’s part of my personal collection. There’s a very special story behind it. Back in 2016, I was exhibiting in the U.S., and a woman saw my work and realized I was Ghanaian—just like her husband. She invited me over, and that night changed everything. Her husband had never really known his Ghanaian roots and had been trying to reconnect. In 2018, I actually went to Ghana to find his family. I met them, and it turned out he was part of a royal house. The resemblance was undeniable. Paul and Norma capture that connection. It’s a portrait of him and his dog, with a background painting that blends both his worlds—America and Ghana. That story, that journey, makes it deeply personal. That’s why I kept it.

Do you have any new projects in the works?

Nothing major at the moment, but I did recently work on a project for The Idol, the TV show by The Weeknd. I created a few pieces for the series. That was a while back, but it was another exciting milestone.

Do you ever experience creative blocks? How do you deal with them?

Definitely. There are times when I just don’t feel like painting, or I can’t decide what to work on. It can be frustrating. When that happens, I don’t force it. I put the painting away and take a break—maybe go for a walk, get some fresh air. If I push myself too hard, I risk ruining the piece. So, I step back, reset, and either return to the same work or start something new.

You’ve built a strong following—over 22,000 and counting. What advice would you give to aspiring artists looking to reach your level?

Consistency. That’s the key. I’ve been painting for years, even when I wasn’t selling a thing. Back in Ghana, sometimes I didn’t even have money for materials. But every time I could afford some paint, I used it. I just kept painting. You have to stay committed to your craft, even when there’s no reward in sight. Keep going. Don’t give up. That’s the best advice I can offer.

Annan Affotey is a Ghanaian giant telling his stories through paints and canvases. He is a phenomenal artist with a distinctive artistic edge that accentuates and defines his work. Remarkably, he contributes to the discourse of Africa’s artistic depth, further driving narratives that speak of complexity and the profoundness of Afrocentric creative activity. Annan works extend beyond his art, his work and story is a testimony of triumph and dedication.

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For long, it appeared as though the ultimate dream of the fellow African was to migrate to the Occident. With an estimated wealth of $2.5 trillion, one would presume that the African continent has everything to fetch for themselves. Yet, more than 2,000 Africans and counting have died crossing the Red Sea in 2024. Contrary to what the masses would think, this phenomena is shared across the globe, with deadly routes on all Seven Seas being frequented daily by refugees risking their lives majorly from the Global South. Although one was warned throughout multiple occasions in history, perhaps with one of its greatest of predictions being the book “Neo-Colonialism, the Last Stage of Imperialism,” by late Kwame Nkrumah, it seems like the colonized state of mind still hasn’t shaken off its grip on many.

Meanwhile, in response to a growing dominance of liberalism starting in 2019, shortly after the death of George Floyd, in which a lot of positive aspects have bettered societies, but also prompted cancel culture and as some would argue; “caused more harm than good.” In recent years, the western sphere have evidently shifted their worldviews from one extreme to another, and at the tip of it all, as history repeats itself, it is those less fortunate who are directly impacted. What are these worldviews, you may ask? Well, we’re seeing a rise of fascism, with more and more countries from the West hardening their migration policies. However, those are not mere views shared by only politicians, as its citizens have shared the same, if not similar sentiments as well. Popular social media platforms such as Tik-Tok and Twitch have become an outlet to spew hatred and divide people, with malleable users confusing echo chambers for a collective thinking, or perhaps the agreed upon opinion of the masses.

When all hope seems lost, there is a resistance movement that arguably began from the underbelly of Africa, growing at rapid pace to make the continent self-sufficient and at last, terminate the hand of colonization that has, over a protracted period, been at the centre of its turbulence.

In this article, we will look at key figures from the African continent and how it inspires a particular artist from its extended tribe, to combat imperialism with sophistication being at its core.

AES and Its World Influence

In 2023, the Alliance of Sahel States (AES) was established between Mali, Niger and Burkina Faso, after decades of terrorist attacks and economic dependance by mainly the nation of France. For many neighouring countries, especially the ECOWAS, this felt like a direct threat to their shared values; ensuring mobility, exchange of goods and growth in certain societal aspects. However, reality is far more dull than one cares to admit, where most West African countries since their independence are trapped in a cycle of corruption, a gap in classism and a pretence of democracy.

Someone just had to say enough, and it came from the countries we perhaps least expected, but surely their impact was made to last. So what have they done to be exact, aside from improving the infrastructure of their own economy? The removal of foreign armies, their nations becoming debt-free and condemning foreign industries for decade-long exploitation, while regaining control of their natural wealth.

What for some may seem like small steps towards the right direction, it had an immense impact on the continent, with Senegal and Chad quickly also removing foreign troops from their countries, Ghana granting citizenship to the African diaspora, Botswana taking back control of their diamond supply, Namibia changing their Visa restrictions to foreigners and many more.

Bad Bunny Following Suit

In January 2025, one of the biggest artists coming from Latin America, namely Bad Bunny, released his sixth solo album “Debí Tirar Más Fotos” and it shook the music world. Not only did it pay homage to Puerto Rico’s traditional music with track such as “BAILE INoLVIDABLE,“ but also, the Reggaeton self-proclaimed King of Pop clearly made stage for anti-colonization sentiments, pleading in song like “LO QUE LE PASÓ A HAWAii” the following lyrics: Thеy want to take my river and my beach too / They want my neighborhood and grandma to leave.

What many people ignore about Puerto Rico is that it is not only a paradise with countless beaches and tropical weather. For many years, known as a tourist attraction lies a dark reality, pushing citizens to leave the island and start a new life in the States. Similar to Europe’s firm grip on the African continent, the island to this day still remains one of US territories. Being self-governed; however having no say in their foreign affairs and defense. Sounds familiar?

To take it even further, Bad Bunny wanted to make sure his bold statement was not under-appreciated, and took it upon himself to publicly declare his stance on the current US regime by announcing his world tour in May 2025 and excluding North America altogether.

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The Art of Resistance 

To understand the resistance movement currently undertaking actions for the sole purpose of benefiting one’s people, it is important to know that alliances such as the AES or international acts like Bad Bunny are not resisting just a system, but their imperial minds that roam within their yards and neighbourhoods. In this quest of freedom and self-actualization, the idea that they invoke is not of direct combat with the imposing forces and their ideals, but in reinforcing and improving the life of their own so that great minds may persist.

The use of art always played a significant role in personifying a communities’ soul. Whether it is in the motherland, Oceania, or the Caribbean, artists find ways to continue to push a message of resistance, bravely addressing injustices and urging their people to rise against oppression. Most importantly, strengthening a nation’s pride that would hopefully hinder residents to undergo deadly paths into foreign lands and instead, fight to better the livelihoods of their native country

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Most fitness clubs come with an almost mechanic social pattern, emphasising an astute operating module that priorities services or resources that facilitate physical fitness. Essentially, the working ethos radiates a stern approach to customer satisfaction leaving little run for a communal

atmosphere, or establishing wholesome, intimate connection—it is just a fitness club. The Èkó Runners Club is a shift from your typical fitness club. It provides the essential resources and services needed to fulfil your fitness desires, but it is also emphatic about establishing

connections. Their differential factor gives them depth, a complexity that somehow fills a void often not mentioned in the fitness world.

In our interview with co-founder, Oghenetega Akintola. We’re particularly interested in their working dynamics and just how well they integrate routines that encourage togetherness and a tight network of likeminded individuals.

- Let’ s meet the Eko Runners

1. Is there a story that properly describes the inspiration behind bringing the club to

life?

I’ve always been a sports person and gymnastics has been a big part of my life for years. Somewhere along my fitness journey, I met Olachukwu, who’s now the co-founder of Èkó Runners Club. She’s an active, adventurous, curious fitness babe, and she’s always open to trying new things. We naturally clicked and started doing workouts and runs together, just pushing each other to be better. Overtime, we both knew we wanted more, not just fitness for fitness' sake, but a community built around movement and intention. We wanted to create something that encouraged people to show up for themselves, even if just once in a while, outside the usual cycle of work, TGIF, and weekend turn-ups. After series of shared Instagram reels, cool videos of running

communities across the globe full of joy and togetherness moving through their cities with purpose. We kept sharing them with each other until one day we just said: why not us? So, we decided tostart small: just one day a week, inviting people to come run with us. From those first few runs, Eko Runners Club started to take shape and it’s been growing beautifully ever since.

2. Lagos is densely populated with competition. What challenges did you face at the

beginning, and how did you overcome them?

We didn’t start Èkó Runners Club to try to compete. We just wanted to connect but Lagos is a lot. One of the biggest challenges was consistency in a city that isn’t always predictable. People are busy, traffic is wild, and life is expensive. So, we had to be super intentional. Sometimes, we

were just three, but we still ran anyway. We kept showing up, and people started to trust us and the space. Another big challenge was — and still is — the lack of safe, structured running spaces in Lagos. A lot of people want to try running, but struggle to find secure, accessible places to do so.

We’ve had to work around that by picking controlled environments, and right now, we’re actively seeking permits and approvals to run in places like Eko Atlantic and Unilag because they offer better safety and structure. We also listen to our runners. We introduced different kinds of runs that

accommodate the average Lagosian, lol. We also split clubs to different locations, so runners can participate closer to home. We currently run on The Island, in Banana Island, Circle Mall, on The Mainland, Unilag and Ikeja Chapter. It gives people options which makes showing up a little easier.

3. What is Eko Runners' differentiating factor? What makes your brand different?

We’re not just a running club, we’re a community. We care about people’s lives beyond the kilometres. We also put a lot of heart into the culture of our runs—our energy is different. From our curated playlist, down to the post-run convos. It's wholesome, it’s soulful, it's Lagos but lighter.

It's about being present, connecting and release. We also recognize that wellness goes beyond movement. It’s not every day run, rest is good, too. So, we organize wellness and social events that cater to our members' mental, emotional, and physical needs. Let’s just say, we know how to make

the most of our rest days too.

4. You've had some exciting collaborations, and a number of notable guests join your sessions.

Were there any standout or memorable moments?

Yes! We’ve been lucky to have some beautiful partnerships, and we’re genuinely grateful to everyone who’s collaborated with us so far. We’re always open to more impactful connections in the future, but one that really stands out was our Èkó Runners Club x EightysKitchenLagos x Puma Running collaboration. That day felt amazing. Runners from different parts of Lagos showed up. Some had never met before, but the vibe was so seamless, like we’d all known each

other for years. Even though we have a WhatsApp group that connects us digitally, that in-person energy reminded us just how powerful movement can be. It wasn’t just a run; it was a reminder that unity can start with something as simple as showing up and moving together.

5. Do you think fitness culture is evolving in Lagos, and do you think your brand is

contributing to these changes?

Absolutely. There’s a real shift happening — people are beginning to prioritize wellness as a lifestyle and not just a means to chase aesthetics. The running culture in Nigeria, particularly Lagos, has truly taken off. It feels like everyone is running nowadays and that’s beautiful to see. Èkó Runners Club has become a soft entry point for a lot of people who never considered themselves “fit” or athletic. We’ve created a space where showing up as you are is enough. We’re

redefining what fitness looks like, who it’s for, and how it can feel. It doesn’t have to be intimidating or performance-based, it can be soulful, communal and a lot of fun.

6. What plans do you have for the future? Is expansion something you're possibly

considering?

Definitely. Myself and Olachukwu still have ideas brewing, ideas that go way beyond just running. We still share reels with each other, lol. The vision keeps evolving, but one thing that stays constant is our passion for building a full ecosystem around fitness and wellness. We’re looking at more

structured runs across Lagos, expanding our chapters, collaborating with more fitness and wellness brands, and maybe even launching our own line of running gear that actually makes sense for ourweather and our people. We also want to create content that feels real and relatable, stories that

reflect who we are, the joy we find in movement, and the community we’re building around it. So yes, expansion is in the works but impact is the real goal!

7. How well do you think your brand promotes health and fitness?

I think we’re doing the best we can with what we have and we’re doing it with intention. At Èkó Runners Club, we’ve made a conscious effort to be accessible. We don’t gatekeep, we don’t shame, and we definitely don’t make fitness feel like it’s only for a select few. We accept you the way you are — no pressure to be the fastest or fittest. As Nigerians would say, “we listen, we don’t judge.” Whether you're a beginner or deep in your athletic era, there's space for you here. Promoting health and fitness for us goes beyond just running; it’s about building consistency, building routines, and feeling supported in your journey.

8. If you could materialize your dreams for Èkó Runners Club, what would be your

vision for the brand?

A space — physical or digital— where anyone in Africa and beyond can find their entry point into wellness. We see Èkó Runners becoming a cultural touchpoint. A movement that’s both aspirational and grounded. Our dream is that someone in Port Harcourt or Nairobi hears about us, feels seen, and decides to lace up their shoes—that’s the vision.

9. The relationship Èkó Runners have with its members looks intimate. It seems like the bond

between everyone is beyond fitness, what do you think causes and maintains this?

We’re friends first as much as we’re runners. We lead with our hearts. From day one, it’s been about connection, not clout. People open up on our runs. We start talking about pace one minute and end up talking about lives and putting people on as much as we can. We celebrate birthdays,

check in on each other, pull up for each other outside of runs. Our community isn’t forced — it’s nurturing, and we’re intentional about protecting that energy.Èkó Runners Club is more than just a fitness club, it is intimacy, it is closure, it is space to network and connect. You enjoy the benefits of traditional fitness spaces, whilst also having a medium to release emotional tension, and enjoy a camaraderie of likeminded individuals. Èkó Runners Club is a testament to how organic tractions can foster communities and underscores how positive, large- felt impacts can be made without saturated social media tactics and heavy marketing. They remind us that meaningful changes grow with time and consistency. Èkó Runners Club is redefining

Nigeria’s fitness space, and it is really interesting to see how they do it and the mechanics behind why they thrive. Their success is eminent, their presence will be felt spaces, and their reach will know no bounds. Èkó is running on the track of success, and we can just watch in awe as they reach the finish line.

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Harvard University is currently navigating federal pressures that threaten to fundamentally alter its identity and global reach. The university faces a dual challenge: the cessation of funding for crucial diversity, equity, and inclusion (DEI) initiatives, including affinity group celebrations, and the, though temporarily halted revocation of its certification to enroll international students. These actions, stemming from the U.S. government under the Trump administration, are not isolated incidents but rather reflective of a broader federal strategy to reshape higher education, with significant implications for diversity, international engagement, and the very concept of meritocracy.

The first front in this federal offensive target is Harvard’s DEI programs. Citing pressure from the U.S. Department of Education, Harvard announced in early May 2025 that it would no longer fund or host affinity group celebrations during commencement weekend. This decision, conveyed to student groups via email, was explained as a necessity to comply with federal law and avoid the potential loss of billions in federal funding. Historically, Harvard has hosted ten such celebrations, serving vital communities including Black, Latinx, Indigenous, and first-generation students. For these groups, these events serve as recognitions of identity, resilience, and achievement within an often-unfamiliar institutional landscape. The university's stated commitment to diversity now appears to be in direct conflict with federal mandates.

In response to this curtailment, Harvard's Black Alumni Society swiftly launched an emergency campaign, aiming to raise $50,000 to ensure the Black graduation ceremony can still take place in 2025. This grassroots effort underscores the profound importance these celebrations hold for students and alumni, symbolizing "vital aspects of the Black student experience" that they are determined to protect. This local struggle at Harvard mirrors a national battle over DEI. The NAACP, for instance, has taken legal action against the Department of Education, asserting that its anti-DEI orders constitute a "gross distortion of reality" that demonstrably harms students of color. This lawsuit specifically challenges the Department's efforts to dismantle the federal equity assistance center program and its interpretation of civil rights laws to restrict DEI initiatives, highlighting a systemic attempt to roll back progress in diversity and inclusion across American higher education.

Adding another layer of concern is the U.S. Department of Homeland Security's (DHS) recent move to revoke Harvard University's certification to enroll international students. This drastic measure, announced by Homeland Security Secretary Kristi Noem, effectively threatened to sever Harvard's global academic ties. The stated reasons for this action included Harvard's alleged failure to comply with government requests for records regarding the "criminality and misconduct" of foreign students and accusations of fostering violence, antisemitism, and collaboration with the Chinese Communist Party (CCP). Secretary Noem framed the enrollment of foreign students as a privilege, not a right, underscoring a hardening stance on international academic exchange.

For Harvard, a university that attracts students from over 140 countries, this decision represented an existential threat. Its nearly 6,800 international students, comprising roughly a quarter of its student body, faced immediate uncertainty. For thousands of Black students, particularly those from Africa; including top sending countries like Nigeria, Ghana, Kenya, and Egypt, this was a personal blow. For many, Harvard has long been a symbol of "possibility," a dream forged against backgrounds of economic hardship and cultural erasure. The sudden threat of exclusion felt like a "psychic rupture," transforming a symbol of opportunity into one of rejection. Harvard's student body is approximately 15% Black, a figure that includes a significant contingent of international Black students. Their journeys to these "crimson gates" often involve immense personal sacrifice, a constant struggle to prove their excellence in systems not inherently built for them. The DHS policy threatened to disrupt this "fragile access," revealing the conditional nature of their belonging.

Harvard's response to the DHS action was immediate and resolute. The university strongly condemned the decision as "unlawful" and "undisguised retaliation," swiftly filing a lawsuit to challenge the government's order. Harvard President Alan Garber maintained that the university had complied with records requests to the extent required by law and vowed a robust legal fight. Crucially, a federal judge subsequently issued a temporary restraining order, blocking the Trump administration from enforcing the revocation. This temporary reprieve offers a glimmer of hope, preventing immediate disruption for international students, but the legal battle continues, leaving the long-term future uncertain.

The intersection of these two federal pressures on Harvard paints a stark picture of the challenges facing American higher education. Both the attack on DEI and the attempt to curtail international student enrollment reflect a concerted effort to exert federal control over university autonomy, influence academic missions, and, significantly, to marginalize diverse student populations. The question of "who gets to dream and who is punished for trying" becomes central. The Western academy has historically benefited immensely from Black intellect and creativity while simultaneously marginalizing it. These recent federal actions merely bring this inherent contradiction into sharper focus.

This moment demands a critical re-evaluation of where hope and validation are placed. If a globally renowned institution like Harvard can face such threats to its international mission due to nationalist politics, it raises profound questions about the future of global academic exchange. The current challenges underscore the urgent need for marginalized communities to build and invest in educational systems rooted in their own histories, visions, and liberation. It is a powerful call for investment in African universities, diaspora-led programs, and independent Black scholarship. The message is clear: instead of perpetually seeking a seat at a table that is increasingly shrinking, the imperative is to "build longer tables. Bigger rooms. Stronger foundations." Harvard may face restrictions, but the BIPOC mind, inherently borderless, will continue its pursuit of knowledge and progress, regardless of institutional gates

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Mamuda Care Nigeria Limited is proud to announce that celebrated music sensation TENI has officially become the face of Mama Joy Detergent Powder, Nigeria’s fastest-rising symbol of care, pride, and performance in the household care space.

The signing ceremony took place at the state-of-the-art Mamuda Care factory in Kano, where TENI was personally welcomed and given a full tour of the production facility. Moved by the professionalism, scale, and quality she witnessed firsthand, TENI expressed how impressed she was, not just with the factory’s global-standard operations, but with the product itself. That moment, she said, made her decision clear: “Mama Joy is the real deal, and I want to be part of this story.”

More than a campaign, this partnership is a powerful statement, a tribute to Nigerian resilience, to the women and families who hustle every day, and to those who deserve a product that truly understands their reality. TENI’s story is every Nigerian’s story: bold, determined, and unapologetically real. Her journey from local talent to national treasure mirrors the rise of Mama Joy, a proudly Nigerian brand built on trust, purpose, and performance.

Mama Joy is a badge of confidence for millions of homes. It represents the strength of the Nigerian woman, the pride of clean clothes earned through hard work, and the power of a brand made for, and by, Nigerians. In a crowded market, Mama Joy stands tall,  through innovation, integrity, and results that speak for themselves.

With TENI as the face of Mama Joy, Mamuda Care is not just launching a campaign, we are uniting with every Nigerian household that chooses quality, authenticity, and pride. Together, we will inspire Nigerians to rise, shine, and take pride in their everyday wins.

The partnership will roll out across all major platforms, from TV to radio, from billboards to digital, and will be backed by meaningful community impact initiatives aimed at empowering women, uplifting homes, and celebrating the spirit of Nigeria.

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An introspection into the brand that uncovers the truths behind its unique presence and vibrant flair for intimate connections and memorable moments.

Afro Sambo is essentially what the name represents: the intricate blend of different cultures to create unparalleled euphonic realisations. It materialises at the intersection of West African and Brazilian sounds, emphasising the beauty of such interplay. Essentially, it propagates the virtues of togetherness and how seemingly different components can form a cohesive, vibrant whole. Afro Samba is more than just the melange of vibrant cultural sonic elements; it is “joy. It’s energy, soul, and a deep cultural connection.” As a creative space, it focuses on creating a thriving communal ecosystem which emphasises the beauty and power of music.

Afro Samba is deeply rooted in heritage and carries emphatic cultural markers. “It’s inspired by my annual trips to Brazil— samba feels like a spiritual reset. Whether you go with friends  or walk in solo, you leave feeling lifted, like you’ve been a part of something communal and beautiful.” As a community, it focuses on personal feelings and creating powerful networks. “We focus on intimacy and intention. Afro Samba isn’t about spectacle — it’s about vibe, feeling, and community. The blend of live music, DJs, and diasporic sounds from West Africa to Brazil creates a unique energy. It’s rooted in heritage  but open and playful — that’s what defines us.” Their passion to network and connect has brought something fresh but familiar: a roda de samba that reflects their brand values and communal ethos. 

Every event is layered with the upbeat style tempo of Afrobeats to the rhythmic depth of Brazilian music. Afro Samba’s creative excellence exists in a spectrum but excels considerably as both a community and a creative space. It endorses musicians, artists, DJs, and anyone whose creative values align with the sonic principles of the Afro Samba focus. Through carefully tailored events, energetic live performances, and a vibrant digital presence. These experiences bring about “connection, first and foremost, wanting people to walk away feeling like they were part of something.”

Afro Samba brings live, nostalgic sensations to audiences who are no longer within their musical roots. These sessions create “a warm, electric space where people feel free,” Afro Samba tells us. “A space for discovery and nostalgia, where you might hear a track that reminds you of home or find a new sound that moves you.”

For the third month in a row, Spotify has deducted a significant amount of streams from tracks across genres. Artists like Kendrick Lamar, Doechi, Joeboy, and Teni, to name a few, have been caught in this purge. Davido's recently released fifth album 5ive, however, took a massive hit, losing some 18 million streams. There are two main reasons why streaming platforms deduct streams, especially large amounts. The first reason is that the artist in question artificially boosted the numbers using bots that artificially mimic human behavior. This is referred to as “farming” in internet-speak, which is a hilarious way to characterize the clandestine action of artificially inflating one’s streaming numbers, given that the origin of the word traces to virtues like hard work and patience. The second reason is that the artist in question violated the platform's terms of service through infractions such as paying for playlist placements. Either way, a sizable deduction is indicative of streaming numbers manipulation. 

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We could throw stones all we want, hurl invectives, reprove these artists for setting a negative precedent, but that would all be performative because we have known for a long time, albeit with marginal evidence, that the global music industry is steeped in fraudulent streaming practices. Davido, being one of the hardest hit, has become the object of public indignation, just as Wizkid, his soulbrother/nemesis (depending on what day of the week it is), became the subject of intense trolling over his slew of cancelled shows. He is, however, hardly alone in this, and for a while now, streaming charts have been far removed from reality, so much that they have become a little more than symbolic. 

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There’s a case to be made that a lot of the time, record labels are behind this inflation of streaming numbers. Proponents of this theory argue that these labels do this to skew public perception in favor of their artists. This is the position that Drake has maintained in his lawsuit against Universal Music Group, which Drake claims to have artificially inflated Kendrick Lamar’s streaming numbers, helping him gain the upper hand in their beef last year. The argument that labels are mostly to blame hardly exonerates fans, after all, the only reason this practice continues to flourish is that music fans of this day have an unhealthy obsession with numbers and records.

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We all share a part of the blame. This is a monster of our creation, a beast we fed and tended to which has now escaped our control. Remember that Friday in 2022, when Burnaboy dropped Last Last, Davido dropped Stand Strong, and Asake dropped Palazzo? Remember how we styled that release day as something of a battle royale and settled on Apple Music Top 100 performance as the defining metric. Not quality. Not impact over time. Not cultural resonance. Instead, we settled on a blanket metric that could satiate our need for instant gratification, our desire for speed over the kind of certitude that can only come with time. Remember how Davido and his fans celebrated being the first to top Apple Music Nigeria chart—indeed, Davido posted a screenshot of Stand Strong topping the chart on his Instagram story—even though in the long run Stand Strong would not have the enduring impact of the other songs. Asake and DJ Spinnal’s Palazzo continues to be a club staple, while BurnaBoy’s Last Last has elevated to the rarified pantheon of the most successful Afrobeats songs. 

What can we take from all of this, if anything? At the risk of sounding too optimistic, I would say that the middling state of streaming charts across the world, which is in no small part due to the rise of streaming fraud, offers us an opportunity to divorce musical brilliance from commercial performance. If the authenticity of numbers and milestones on streaming services can no longer be taken at face value, then perhaps we have no reason to invoke streaming numbers when appraising the quality of a musical number or project. 

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Admittedly, this is easier said than done. Even the most number-obsessed music enthusiasts know, on some level, that the quality of a piece of music is independent of its commercial performance. We, however, live in a hyper-capitalist society—and I use the word “capitalist” here in the cultural sense—that forces us to consider nearly everything through the lens of quantifiable metrics. Even music and the arts, which by definition are ineffable, in that they, at least ideally, defy simplistic quantifications, have not been spared from our generation’s obsession with numbers. In music conversations on X, casual fans trot out streaming numbers and chart records, statistics in general, with a precision and forcefulness that makes one wonder if we’ve not all unwittingly become music execs. This focus on vanity metrics has stripped music conversations on social media of their lighthearted air, instead reducing them to a little more than a stilted exchange of statistics. The silver lining in all of this is that perhaps this situation might jolt us out of our numbers obsession and lull us back into simpler times when first week streams and monthly listener count didn’t factor into our appreciation for music. 

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