Uche Montana is the Fastest Rising Young Actress in Nollywood

Uche Montana is the Fastest Rising Young Actress in Nollywood 

The 50 Most Outstanding Women in Nollywood and the Nigerian Film Industry

Uche Montana is the fastest rising young actress in Nollywood and currently tops in the 10 most viewed Nollywood movies on YouTube.

Uche Montana (born Uche Frances Nwaefuna on May 8, 1994) is a prominent Nigerian actress, model, and film producer.

Originally from Ibusa in Delta State, she grew up in Festac, Lagos, where she initially pursued a diploma in law before transitioning to the film industry in 2015. 

Career & Recent Works

Montana gained widespread recognition for her role as "Adaze" in the popular television series Hush (2016–2017). Since then, she has featured in over 60 films and recently launched her own production channel, Uche Montana TV on YouTube, which has surpassed 1 million subscribers. 

Key Movies & TV Shows: 

Poison Ivy (debut), The Fake Life of Abuja Housewives, Hire a Woman, A Weekend to Forget, and Seven.

Recent Viral Projects: 

Her 2026 film A Place With You hit 2 million views in a single day on her YouTube channel. 

Other recent titles include The Other Woman (Parts 1 & 2) and Love Choose Us.

Awards & Recognition: 

She is a 2025 AMVCA Best Actress Nominee and has previously won the Moreklue All Youth (MAYA) Award for Best Supporting Actress. 

Lifestyle: 

Known as a fashion and lifestyle enthusiast, she often shares updates on her Instagram and recently celebrated the acquisition of a 2024 Range Rover. 

Netflix Versus YouTube in Nollywood

Since the celebrated Nollywood actress, Omoni Oboli's romantic comedy, " Love in Every Word" became a hit on YouTube, many bloggers, news reporters and rumour mongers have become experts on how much she has made so far smiling to the bank with hundreds of thousands of dollars. 

One of them even lied that she has earned more than US$800, 000!

Another one said she has earned US$100, 000!

Nigerians can lie for Africa! 

Omoni Oboli don cashout big! Her movie 'Love in Every Word' hit up 14 million views on YouTube in just 2 weeks, earning a whopping N150m! Looks like YouTube is the new sweet spot for Nollywood producers! Congratulations to her💯 #OmoniOboli #Nollywood #YouTube #Benuevibes

FACTS DON'T LIE

Recent Nielsen data showed YouTube made up nearly 10% of all television viewing in the U.S. last month. Netflix was lower, at 8.4%, albeit the highest for a subscription service. Streaming viewership hit a record overall share topping 40%.

“Netflix and YouTube are the clear leaders,” said Netflix co-CEO Ted Sarandos. Netflix is focused on the rest of total TV time — about 80%, primarily linear and streaming — “that isn’t going either to us or ton."

How Much Does NETFLIX Pay?

Netflix doesn't pay directly for individual views. Instead, they typically pay for licensing fees for content, which can vary significantly. For example, a Nigerian filmmaker might receive a licensing fee between $10,000 and $90,000 for a film. This is not tied to the number of views, but rather to the overall agreement to stream the content on the platform.
Here's a more detailed breakdown:
No Per-View Payments:
Unlike YouTube or other platforms, Netflix doesn't offer a revenue-sharing model based on individual views.
Licensing Fees:
Netflix pays upfront fees for the rights to stream content, and these fees are negotiated in advance.

The amount of money Netflix pays can vary widely depending on factors such as the content's perceived value, the bargaining power of the content creator, and the specific agreement.

Nigerian Filmmakers:
Some reports indicate that Netflix has offered lower fees to Nigerian filmmakers compared to those from other countries. For instance, one report states that Netflix offered $90,000 for Nollywood films, while planning to spend $500 million on films and series from Asia and Europe.

In summary, Netflix doesn't pay a specific amount per million views. Instead, they pay upfront licensing fees for the right to stream content, which are not tied to the number of viewers. 

How Much Does YOUTUBE Pay for Views

YouTube doesn't pay a fixed amount per million views. The actual earnings can vary greatly, but generally, a creator can expect to earn around $2,950 for 1 million views, or about $0.00295 per view. This is based on an average AdSense revenue, but several factors can influence the actual payout.
Here's a more detailed breakdown:
Factors affecting YouTube earnings:

Ad Revenue:
The main source of income for many YouTube creators is ad revenue, generated when viewers watch or click on ads within their videos.

Ad Rates:
The price advertisers pay for ads varies depending on several factors, including the audience's demographics, the type of ad, and the video's niche.

Niche and Category:
Content creators in certain niches, like real estate, may have higher RPMs (Revenue Per Mille, or per 1,000 views) than others, leading to potentially higher earnings.

Audience Demographics:
The demographics of a creator's audience can also affect their earnings. For example, videos with a high concentration of viewers in countries with strong economies might generate more revenue.

Other Income Streams:
In addition to AdSense revenue, creators can also earn money through sponsorships, merchandise sales, and other monetization methods.
Example:
A vlogging channel with a typical RPM of $1-$6 might earn between $1,000-$6,000 for 1 million views. A real estate channel with a higher RPM could potentially earn closer to $30,000 for the same number of views. 

Is Nollywood Really Booming?

Is Nollywood Really Booming?

The sociocultural phenomenon of the guerilla filmmakers of Nollywood, the first indie film industry in Africa has been attracting global attention making news headlines of the foreign news media since the early 1990s and making the stars of the low budget movies household names across Africa.  "Nollywood is booming" echoed from the street to the internet and on the popular cable TV channels called Africa Magic on DStv and GOtv of the MultiChoice Group of South Africa. 

According to a widely circulated report since 2020:

Nigeria’s film industry contributed 2.3% and about 239 billion naira ($660 million) to the GDP and projects that the industry will increase its export revenue earnings to over $1 billion. The motion picture and music recording industry exceeded 2020 projected $806 million revenue contributing about 730 billion naira ($1.8 billion) to the country’s GDP.

The country’s television and video market grew by 7.49% to $806 million in 2020, up from $732 million in 2018. The industry is projected to earn about $900 million in 2023. The market is driven by subscription revenue, which accounted for 72.26% of total revenue in 2018. TV advertising accounts for 21.31% of total revenue.

https://www.trade.gov/country-commercial-guides/nigeria-media-and-entertainment

With other similar reports; to the foreign news media, Nollywood, the Nigerian film industry is booming with references to the success stories of DStv, GOtv and Showmax of the MultiChoice Group; the increasing numbers of cinemas with all the highest grossing Nollywood movies in the box office making millions of dollars annually since 2016; the exciting attractions of Netflix, Amazon Prime Video and other OTT platforms with hundreds of thousands of subscribers. But the fact is; Nollywood is not among the 10 biggest film industries in the world by box office revenues, TV budgets and revenues. 

Nollywood no longer produces the often reported over 2, 000 movies annually used to rank it as the second largest film industry in the world after Bollywood of India and ahead of Hollywood of America. Since the COVID-19 pandemic with the consequences of the lockdowns and restrictions of physical contact with others at work, productions of movies and TV series have reduced in Nigeria.

Nollywood is not the biggest film industry in Africa. 

South Africa has the biggest film industry on the continent with the biggest and largest film distributors and exhibitors; including the popular Durban Film Mart, Cape Town International Film Market and Festival and MIP Africa. The biggest GSM telecom network in Nigeria is MTN from South Africa used by the majority of Nigerians for data to use the internet and the MultiChoice Group of South Africa is the biggest and largest cable TV network in Nigeria. 

The local private and public TV stations in Nigeria cannot compete with the South African Broadcasting Corporation (SABC) and other broadcasting services of South Africa in the entertainment industry.

The reports that Nigeria has the biggest film industry in Africa are  false.

Nollywood is booming continues to be echoing and repeated in the news reports, but the realities are different inside Nigeria.

Behind the showtimes of the cinemas in the big shopping malls of Lagos and other states; behind the glitz and razzmatazz of the red carpets of the premieres of movies and international film festivals in Nollywood; majority of the filmmakers with their casts and crews are struggling and suffering to make ends meet. Majority of them cannot afford brand new cars or SUVs and cannot afford to build or buy houses. 

Dozens of practitioners suffered and passed on in Nollywood last year 2022, but only the famous ones made news whilst the unknown ones passed away unsung. Many of them could not pay their medical bills.

Many of those who survived the critical financial challenges only survived by divine interventions of Almighty God through various means, including the kindness of several "Good Samaritans" who gave them helping hands to rescue them from their misery.

I had a catalog of movies, TV series and documentaries of the best quality, but all the TV channels in Nigeria could not afford to pay for the TV rights as low as US$750 per movie or episode for two years. They cannot even afford to produce content of premium quality and the employees are underpaid.

There is no single film and TV market in Nigeria and no film commission, except the Nigerian Film Corporation (NFC) without a film commissioner. 

The NFC does not know that there should be a film commission in every state in the country, including Abuja. 

Nollywood is far from booming, because even the fortunate ones among the filmmakers who  produced the highest grossing movies and series acquired by Netflix, Amazon Prime Video, Showmax and other major foreign film acquisition and distribution companies have not become multimillionaires in dollars like their counterparts in Hollywood. 

None of the highest grossing Nollywood movies made up to US$2 million.  

The Hollywood blockbuster "Black Panther: Wakanda Forever" has become the first film to make N1 Billion from the box office in Nigeria and one billion naira is less than US$2 million by the  current exchange rate of the dollar to the naira of $1 for N730. $1m is about N730 million. 

A movie in a booming film industry by global valuation should be making millions of dollars within three weeks and not struggling to make two million dollars within three months of the theatrical release. Nigeria does not have up to 300 screens and the population of the country is over 200 million, the largest in Africa. Exhibitors spend millions of dollars annually on recurrent expenditures of the cinemas in a country without regular power supply for electricity and they have to use big industrial generators with daily supply of diesel or petrol. There are days a cinema will not have up to 20 moviegoers and the generator will be used for power supply for screenings without interruptions.

I don't envy the exhibitors and investors. 

Uber is making more money in Nigeria than all the members of the Cinema Exhibitors Association of Nigeria (CEAN).  

It is better, richer and safer to invest in an urban taxi transport service in the country than to invest in having cinemas in Nigeria. And guess what? An Urban taxi cabs service can still make money from Nollywood without sweat. How?

Nollywood creates thousands of jobs, but over 90 percent of these jobs are not permanent, because the jobs end once the production of a movie ends. Many of the  actors have to fast and pray to get new roles in the next productions. Majority of the actors, cameramen, camerawomen, gaffers and others are among the lowest paid employees in Nigeria. Their incomes cannot make ends meet for them and their dependants without any social welfare and without any insurance policy. 

Nollywood is still a developing film industry with multiple streams of incomes. But the lack of structure is hampering the economic growth.

Movie merchandise and film tourism are still unexplored sectors of Nollywood which can be avenues to create permanent jobs for many people and increase the revenues from the film industry. 

- By Ekenyerengozi Michael Chima,

Publisher/Editor,

NOLLYWOOD MIRROR® Series,

New Nigeria on Pinterest

www.pinterest.com/nigeriansreport

https://www.amazon.com/author/ekenyerengozimichaelchima

https://www.linkedin.com/in/michaelchimaeyerengozi

NOLLYWOOD MIRROR® Series 

First book series on Nollywood and the Nigerian film industry available in paperback and hardcover versions.

Giving Africa a Creative Voice in the Digital Era

 MultiChoice Group

OPINION PIECE

Giving Africa a Creative Voice in the Digital Era (By Georginah Machiridza)

A modern media company would likely use a combination of broadcast media, social media, written content, video clips, as well as animation and physical activations to share content and market their brand.

JOHANNESBURG, South Africa, May 25, 2022/ -- By Georginah Machiridza, Executive Head Content Strategy and 3rd Party Channels, MultiChoice Group (www.MultiChoice.com)

It’s crucial that the content, art and creative output of Africa’s content creators remains authentically African, even while we embrace the opportunities of the digital era, writes Georginah Machiridza, Executive Head Content Strategy and 3rd Party Channels, MultiChoice Group.

We’re all aware of how rapidly the media landscape is changing. Audiences have been migrating to digital and online channels for more than a decade, and even established media such as broadcast, film, and radio are using hybrid platforms that reach audiences across multiple channels.

A modern media company would likely use a combination of broadcast media, social media, written content, video clips, as well as animation and physical activations to share content and market their brand.

Digital skills

This constantly evolving media terrain requires a diverse range of skills. Storytelling lies at the heart of most media messaging, but specific technical knowledge is required to translate compelling stories for every channel.

Writing, cinematography, video editing, TV, radio and online presenting, animation, coding and content management are just some of the specialised skills of the modern media landscape – many of which are evolving in real time as their respective media fields develop.

Africa is at the coalface of these developments. New media provides enormous opportunities to reach more of our people, with more compelling content, and to do it more efficiently and cost-effectively.

African authenticity

The challenge, though, is that we must continue to tell African stories, even while many technology innovations and Big Tech companies originate outside Africa. Digital media evolution comes with a very real threat of cultural imperialism.

The solution to avoiding this Western cultural hegemony is twofold. Firstly, we must empower African content creators with the skills to tell African stories. Secondly, we must create viable, profitable markets for African content, and grow demand for that content.

Fortunately, Africa has long been a hub of creativity and innovation. We have “found our voice” in the digital economy, and there are many creators telling African stories for African, as well as global audiences.

These include people like Kenyan comedienne Elsa Majimbo, Ghanaian internet personality Wode Maya, Ghanaian visual artist Prince Gyasi, Kenyan journalist Brian Otieno, South African illustrator and artist Slaying Goliath, SA comic Donovan Goliath and others. These innovators are  “Expressing Africa” through compelling content using digital and social-media platforms.

African media platforms such as DStv and Showmax are also enabling this trend, creating platforms across the continent tailor-made to showcase African stories for audiences hungry for stories about themselves and their culture.

In 2018, M-Net and MultiChoice spent R2,5bn developing local movies and series and bringing them to screens across Africa.

By investing in original productions of authentic stories and talent across the continent, M-Net is helping to launch acting, writing and filmmaking careers, both locally and internationally.

Hyperlocal platforms

In Ethiopia, MultiChoice channel Abol TV provides premium 100% Ethiopian general entertainment 24 hours a day. In Uganda, Pearl Magic provides a similar offering, telling stories by Ugandans for Ugandans. In Nigeria, Africa Magic provides channels in Igbo, Yoruba and Hausa. Customised hyperlocal MultiChoice offerings are also available in Ghana, Angola, Mozambique and Kenya and 3rd party channel launching in Zimbabwe recently.

The group reaches a total of 50 African countries. The Showmax streaming service has also emerged as a powerful platform for African content, through its movie and series offerings. Its Colours Of Africa series of homegrown African short films by MultiChoice Talent Factory (MTF) students celebrates African culture and the effects of modernisation on some cultural practices.

Skills pipeline

All of these emerging platforms – whether broadcast, streaming or digital – have created enormous opportunities for African media workers and content creators. Creating the skills that enable young creatives to grasp these opportunities is the other way Africa will find its voice in the digital era.

Helping to provide this, by building a pipeline of skilled African content professionals is the MultiChoice Talent Factory.

MTF plays a critical role in building and strengthening the TV & film industry across Africa, and was born out of a need to solve for representation, local content, and higher production quality and value. MTF is a shared-value platform and strives to be Africa’s leading training ground for content creators, by providing an enhanced training programme through partnering with local and global experts. The initiative takes a multi-tiered approach, incorporating the MTF Portal, the MTF Academies and MTF Industry Masterclasses.

Every year, the MTF academies select 74 talented African individuals to participate in a 12-month academic and practical immersion programme including both theory and hands-on experience in cinematography, editing, audio production and storytelling to name a few.

The year-long, fully sponsored programme is offered through regional MTF academies in Kenya, Nigeria, Zambia and South Africa, in partnership with local tertiary education institutions. Students and interns learn filmmaking by making films – developing their film and TV production skills alongside industry greats.

In addition, MTF Masterclasses give working film and television professionals and those who aspire to be content creators exclusive access to practical, industry expert-led skills workshops, where they interact and learn from the best in Africa and the world. The online portal has more than 40 000 registered users who have access to a growing library of masterclass content.

The MTF Masterclasses, the Academies and the MTF Portal (a profiling and networking platform) – support MultiChoice’s commitment to enhancing accessibility, opportunity, and quality in local productions.

These initiatives are all part of Africa’s cultural and technological resurgence, creating opportunities and building capacity, allowing Africa’s creative output to stand proud on the world stage.

Distributed by APO Group on behalf of MultiChoice Group.

SOURCE

MultiChoice Group

The Biggest Lies on Nollywood and the Nigerian Film Industry in Wikipedia

Gross box office (2014)
Total
US$5 Billion
https://en.wikipedia.org/wiki/Cinema_of_Nigeria

Fake news 

That the gross box office from Nollywood in 2014 was a total of US$5 Billion as written in the Wikipedia.

Fact

Nollywood has never made even up to US$1 Billion from the box office since 2010 to date.

The biggest film industry in Africa is South Africa and not NIgeria by numbers of cinemas and highest grossing films.

Nigeria is not among the top ten countries with biggest box offices in the world.  Nigeria does not even have one quarter of the number of screens in South Africa and South Africa is not among the top ten film industries in the world.

https://nigerianinfopedia.com.ng/largest-film-industries-in-the-world

Being the second largest producer of movies on video in the world after India does not make NIgeria one of the biggest film industries in the world according to the indices of the economics of the global film industry. 

Nigeria produces hundreds of movies on video annually, but only about ten percent of them are good enough for theatrical release in the cinemas in Nigeria. The rest end up on YouTube channels, cable TV and websites of movie pirates.

No NIgerian movie has made up to US$3million at the box office in the history of the Nigerian film industry.

All these fictitious fables and fake news on Nollywood must stop.

Facts don't lie. 

All liars, including the ignorant self acclaimed experts on Nollywood teaching their so called Masterclasses in America and Europe must stop teaching inaccurate reports on Nollywood and the Nigerian film industry. Even Jodie Foster is ignorant of the facts on Nollywood and she is teaching a Masterclass? What does she know about the history of the Yoruba traveling theatre, NIgerian Television Authority (NTA) and Onitsha Market Literature in the development of Nollywood? Does she know about the relationship between Nollywood of the southern region of Nigeria and the Kannywood of the northern region of Nigeria?

- By EKENYERENGOZI Michael Chima 
Publisher/Editor, 
NOLLYWOOD MIRROR®Series 
247 Nigeria (@247nigeria) / Twitter
https://mobile.twitter.com/247nigeria
https://www.amazon.com/author/ekenyerengozimichaelchima
https://www.linkedin.com/in/michaelchimaeyerengozi

MX Player Presents "Azumkuta Kingdom" Starring Patience Ozokwor

MX Player Presents "Azumkuta Kingdom"  Starring Patience Ozokwor

https://www.mxplayer.in › movie

Watch Azumkuta Kingdom Movie Online for Free Anytime

Genre: Drama, Nollywood. Year: 2022.

https://www.mxplayer.in/movie/watch-azumkuta-kingdom-movie-online

One of the four Nollywood movies acquired by MX Player in December, 2021 for non-exclusive film and TV rights on Vuulr. 

MX Player is an Indian video streaming and video on demand platform developed by MX Media & Entertainment (formerly J2 Interactive. It has over 280 million users globally.[3][4] The platform currently operates on an ad-supported model and has a streaming library of over 150,000 hours across 12 languages including English, Hindi, Tamil and Telugu. It is available on iOS, Android and the web.

In 2018, Times Internet acquired a majority stake in MX Player for $140 million.

In October 2019, MX Player raised $110.8 million in an investment led by Chinese conglomerate Tencent.

Top 20 Emerging Filmmakers Shortlisted For Netflix & UNESCO’s African Folktales, Reimagined Competition

PRESS RELEASE

Top 20 Emerging Filmmakers Shortlisted For Netflix & UNESCO’s African Folktales, Reimagined Competition

The shortlist contains a dynamic group of African creatives from across 13 countries in the region

Access Multimedia Content

https://www.africa-newsroom.com/press/media/top-20-emerging-filmmakers-shortlisted-for-netflix-and-unescos-african-folktales-reimagined-competition

LAGOS, Nigeria, February 2, 2022/ -- Shortlisted candidates from 13 countries across Sub-Saharan Africa; six winners will create short films that will premiere on Netflix (www.Netflix.com).

Netflix and UNESCO are excited to announce the 20 shortlisted candidates who will go forward in the exciting short film competition ‘African Folktales, Reimagined’. What’s more - the quality of submissions received resulted in one extra candidate being added to the list, making it 21 filmmakers on the shortlist! The candidates were selected following a rigorous evaluation process by a wide-range of industry professionals from across the continent who assessed over 2080 applications from across the continent in multiple languages. The shortlist contains a dynamic group of African creatives from across 13 countries in the region.

The  shortlisted filmmakers include (in no particular order): Nosa Igbinedion (Nigeria); Ebot Tanyi (Cameroon); Loukman Ali (Uganda); Tongryang Pantu (Nigeria); Walt Mzengi (Tanzania); Venance Soro (Côte d'Ivoire);Mark Wambui(Kenya); Volana Razafimanantsoa (Madagascar); Mohamed Echkouna (Mauritania); Nader Fakhry (Côte d'Ivoire); Anne Catherine Tchokonté (Cameroon); Mphonyana Mokokwe (Botswana); Anita Abada (Nigeria); Samuel Kanyama (Zambia); Machérie Ekwa-Bahango (Democratic Republic of Congo); Oprah Oyugi (Kenya); Ndiyathemba Modibedi (South Africa); Gcobisa Yako (South Africa); Akorede Azeez (Nigeria); Katya Aragão (São Tomé and Príncipe) and Voline Ogutu (Kenya). 

The 21 emerging filmmakers will go on to the next phase of the competition where they will be required to pitch their stories to a judging panel comprising of the mentors; Nigeria’s Femi Odugbemi, South Africa’s Bongiwe Selane, Leila Afua Djansi from Ghana, David Tosh Gitonga from Kenya, and Jean Luc Herbulot from Congo as well as representatives from Netflix and UNESCO who will act as guides in the process. The panel will select the final six filmmakers who will receive a production grant of US$75,000 (through a local production company) to develop, shoot and post-produce their films under the guidance of Netflix and industry mentors to ensure everyone involved in the production is fairly compensated. Each of the 6 winners will also receive $25,000.

“Congratulations to those who have been shortlisted! They should all be proud of the quality of their work. This competition showcases the extraordinary cultural richness that Africa has to offer that we want to share with people all over the world, as Africa is a priority for UNESCO.” - Ernesto Ottone R., UNESCO Assistant Director-General for Culture. 

Adding to UNESCO’s congratulatory message, Ben Amadasun, Netflix Director of Content in Africa siad, “We also want to thank our panel of independent industry professionals who undertook the mammoth task to read over 2080 applications until they found 21 strong submissions! The response from all the aspiring filmmakers who took time to submit their application also proves that there's a wealth of storytelling potential and talent in Africa and we at Netflix are excited to be part of this journey for more talented new voices to share their stories with the world.”

For more information about the competition, please visit www.netflix-growcreative.com/unesco.

Distributed by APO Group on behalf of Netflix.

About UNESCO:

We are the United Nations Educational, Scientific and Cultural Organization. In 2021, UNESCO published The African Film Industry: Trends, Challenges and Opportunities for Growth the first complete mapping of Africa’s film and audiovisual industries. In 2022 UNESCO will convene the Global Mondiacult Conference on Cultural Policies and Development, in Mexico.

About Netflix:

Netflix is the world's leading streaming entertainment service with 222 million paid memberships in over 190 countries enjoying TV series, documentaries, feature films and mobile games across a wide variety of genres and languages. Members can watch as much as they want, anytime, anywhere, on any internet-connected screen. Members can play, pause and resume watching, all without commercials or commitments.

SOURCE

Netflix

The Unique Music Videos of Davido and the Power of Storytelling

"JOWO" by Davido.

David Adedeji Adeleke, popularly known as Davido is one of the best young musicians of  the new generation in Africa and the rest of the world.

@MTV@RollingStone@RecordingAcad@billboard@nytimes@nprmusic
The Unique Videos of #Davido and the Power of Storytelling 

@davido has the best videos in Nigerian #music in artistry, imagery and poetry. "Jowo" and "The Best" are short films of outstanding cinematic experience.

pic.twitter.com/B5BSxN9Avm

— 247 Nigeria (@247nigeria) February 15, 2021

"A Better Time" is his best LP so far and he has made unique music videos of the songs in the LP.   

"JOWO" is a cinematic music video featuring Nollywood icon Richard Mofe-Damijo, popularly known as RMD and the sultry reality TV beauty,  Rebecca Nengi Hampson of Big Brother Nigeria reality TV show. The video shows the conflict resolution to a gang war.

A good music video tells a unique story in captivating motion picture of vivid imagery.

The director of these videos,  Apampa Oluwadamilola, aka Dammy Twitch is a genius.  

The Highest Paid Nollywood Actors in Asaba

Asaba, the capital city of Delta State in the South-South region of Nigeria is the new hub of Nollywood, the first and largest indie film industry in Africa known for the productions of thousands of home videos. 

In Nollywood Rising: Welcome To Asaba, I said that the city has overtaken Lagos in the production of movies. And the highest paid actors (both male and female) in Asaba are among the highest paid and richest actors in Nollywood and the Nigerian film industry.  

The highest paid actors in Asaba, include Jerry Amilo, Yul Edochie, Zubby Michael, Mercy Johnson Okojie, Ebele Okaro, Ngozi Ezeonu, Patience Ozokwor, Chika Ike, Tonto Dikeh, Destiny Etiko, Mike Ezuruonye, Ken Erics Ugo, Stephen Emeka Odimgbe, Chacha Eke and Regina Daniels.

These actors are being paid between N1 million and N5 million per movie. And they are earning more money than several of the A-List actors in Lagos city.

- By Ekenyerengozi Michael Chima,

Publisher/Editor,

NOLLYWOOD MIRROR®Series

247 Nigeria (@247nigeria) / Twitter

https://mobile.twitter.com/247nigeria

https://www.amazon.com/author/ekenyerengozimichaelchima

Chris Brown, 2Face Idibia and D'Banj shine at 2011 BET AWARDS

Sensational American R&B singer Chris Brown was the star of the night at the 2011 BET AWARDS Sunday night at the Shrine Auditorium in Los Angeles, hosted by Kevin Hart. Chris went home with the awards for Best Male Artist, Coca-Cola Viewer's Choice, Best Collaboration, and Video of the Year Awards.

Popular Nigerian artistes 2Face Idibia and D'Banj shared the Best International Act award.




Chris Brown


The following is the full report.

27 Jun 2011 07:55 Africa/Lagos


CEE LO GREEN CHANNELS HIS INNER PATTI LABELLE IN FULL COSTUME DURING HER TRIBUTE PERFORMANCE FOR THE LIFETIME ACHIEVEMENT AWARD
JUSTIN BIEBER FLIRTS WITH NICKI MINAJ ON STAGE
ALICIA KEYS PERFORMS NEW SONG "TYPEWRITER" AND SHARES STAGE WITH BRUNO MARS AND RICK ROSS
STEVE HARVEY INSPIRES THE AUDIENCE AS THE HUMANITARIAN AWARD RECIPIENT

PR Newswire

NEW YORK, June 27, 2011

NEW YORK, June 27, 2011 /PRNewswire/ -- The hilarious Kevin Hart kept the crowd laughing out loud as a Hollywood House Husband during the BET AWARDS '11 opening act with Bobby Brown , Jermaine Dupri , Anthony Anderson , Nelly, and Nick Cannon . Chris Brown's powerful performance medley of "She Ain't You," "Look at Me Now," and "Paper Scissor Rock" illustrated just why he was named the 2011 Best Male R&B Artist, Video of the Year, Best Collaboration, and Coca-Cola Viewer's Choice Award winner when he took to the stage in two performances collaborating with Busta Rhymes and Big Sean. Later, a precocious Justin Bieber propositioned Nicki Minaj on stage when he said, "I'm all grown up now. I turn 18 next year so...what's up?"

(Logo: http://photos.prnewswire.com/prnh/20070716/BETNETWORKSLOGO )

Legendary songstress and diva extraordinaire Patti LaBelle was the recipient of the Lifetime Achievement Award and her tribute was a performance unlike anything ever seen before. Beginning with a special introduction from another musical icon, Gladys Knight , Cee Lo Green took to the stage in a throwback Patti LaBelle costume performing "Somebody Loves You Baby," while Marsha Ambrosius jazzed up the room with her spot on rendition of "If Only You Knew," before the great Shirley Caesar took the crowd—and Patti LaBelle —to tears singing "You Are My Friend." But it was Patti herself that brought the house down performing two of her greatest hits, "Love, Need and Want You" and "Lady Marmalade." Steve Harvey uplifted the audience in his acceptance speech for his Humanitarian Award.

The cast of the Five Heartbeats movie surprised the audience with a reunited performance with R&B crooners After 7 with the famous hit, "Nights Like This," for the 20-year anniversary of the film. The beautiful Kerry Washington graced the stage for BET's Shine A Light moment to honor individuals who make the world a better place for young people.

Celebrating the 10-year Anniversary of her first album, Songs In A Minor, Alicia Keys graced the BET AWARDS '11 stage for a medley of her hits with Bruno Mars and Rick Ross as well as for the world premiere her latest song, "Typewriter."

Additional highlights of the 14 performances include: Trey Songz sexy, shirt-ripping rendition of "Making Love Faces" and "Unusual," and was later joined by Kelly Rowland to perform her smash hit, "Motivation," Donnie McClurkin, Deitrick Haddon and Mary Mary uplifted the audience with their rendition of the gospel hit, "Thank You Lord," in tribute to the late Walter Hawkins; Mary J. Blige , Anita Baker , DJ Khaled, and Jadakiss kicked off the show with a monumental mix of hits "All Night Long," "Joy," "Happy," Dreams," "Real Love," "Rapture," and "Over Til It's Over"; Jill Scott performed a soulful rendition of "Rolling Hills" with actor and DJ Idris Elba ; DJ Khaled, Rick Ross, Drake and Lil' Wayne amped the crowd performing "I'm the One"; and Beyonce closed the show singing "Best Thing I Never Had" and "End of Time" via live telecast from Britain's Glastonbury Festival.

This year's In Memoriam tribute celebrated the lives of Cali Swag District member M-Bone, Clarence Clemons , Teena Marie , Gil Scott Heron and Nate Dogg with performances and appearances by Doug E. Fresh and Cali Swag District, Queen Latifah, Ledisi, Scott Mayo, Snoop Dogg and Warren G.

In continuing the good that BET's S.O.S.: Saving Ourselves initiative has made over the years, the BET AWARDS '11 contained a special moment to show support for the victims of the tornadoes in the Southeast through a special message from Rev. Al Sharpton .

In addition to all of these spectacular moments, the full list of BET AWARDS '11 winners are:

* Best Female R&B Artist: Rihanna
* Best Male R&B Artist: Chris Brown
* Best Group: Diddy-Dirty Money
* Best Gospel Artist: Mary Mary
* Best Female Hip Hop Artist: Nicki Minaj
* Best Male Hip Hop Artist: Kanye West
* Best New Artist: Wiz Khalifa
* Best Collaboration: Chris Brown f/ Lil Wayne and Busta Rhymes "Look At Me Now"
* Video of the Year: Chris Brown f/ Lil Wayne and Busta Rhymes "Look At Me Now"
* Video Director of the Year: Chris Robinson
* Best Actress: Taraji P. Henson
* Best Actor: Idris Elba
* Young Stars Award: Jaden Smith and Willow Smith
* Best Movie: For Colored Girls
* Subway Sportswoman of the Year: Serena Williams
* Subway Sportsman of the Year: Michael Vick
* Centric Award: Marsha Ambrosius "Far Away"
* Best International Act: 2Face Idibia (Nigeria) and D'Banj (Nigeria)
* Coca-Cola Viewer's Choice Award: Chris Brown f/ Lil Wayne & Busta Rhymes - "Look at me Now"
* Humanitarian Award: Steve Harvey
* Lifetime Achievement Award: Patti LaBelle


About BET Networks:

BET Networks, a subsidiary of Viacom Inc. (NYSE: VIA, VIA.B), is the nation's leading provider of quality entertainment, music, news and public affairs television programming for the African-American audience. The primary BET channel reaches more than 90 million households and can be seen in the United States, Canada, the Caribbean, the United Kingdom and sub-Saharan Africa. BET is the dominant African-American consumer brand with a diverse group of business extensions: BET.com, a leading Internet destination for Black entertainment, music, culture, and news; CENTRIC, a 24-hour entertainment network targeting the 25- to 54-year-old African-American audience; BET Digital Networks - BET Gospel and BET Hip Hop, attractive alternatives for cutting-edge entertainment tastes; BET Home Entertainment, a collection of BET-branded offerings for the home environment including DVDs and video-on-demand; BET Event Productions, a full-scale event management and production company with festivals and live events spanning the globe; BET Mobile, which provides ringtones, games and video content for wireless devices; and BET International, which operates BET in the United Kingdom and oversees the extension of BET network programming for global distribution.

SOURCE BET Networks

CONTACT: Marcy Polanco, +1-212-975-3327, marcy.polanco@BET.net, Zabrina Horton, +1-310-481-3737, zabrina.horton@BET.net, both of BET Networks; or Simone Smalls of Simone Smalls PR, Inc., +1-917-388-3890, simone@simonesmallspr.com; or Michelle Huff, +1-212-239-1732, michelle@huffent.com, Debbie Asrate, +1-212-239-1732, debbie@huffent.com, both of HUFF Events & PR; or Charlie Guadano of Simone Smalls PR, Inc., +1-917-388-3890, charlie@simonesmallspr.com

Web Site: http://www.bet.com

Corruption and Sexploitation Spread HIV/AIDS in Nigeria

Many Nigerian girls are commercial sex workers


There are over two million people living with HIV/AIDS in Nigeria and the country ranks second to South Africa in the world for the spread of the pandemic.


The promiscuous life of majority of Nigerian girls is responsible for the spread of HIV. The disregard for family values and virtues is no longer news as parents have failed to lead their children by example. Sexploitation is common on the street, radio and TV as parents and guardians either watch helplessly as their impressionable sons and daughters engage and indulge in immoral acts at parties where psychedelic music promoting sexual abuse is played and pornographic music videos are given regular airtime on TV. 90% of the most rotated programmes on Nigerian TV are musical shows with uncensored music videos showing half naked girls dancing wildly for young men dressed in suits or fashionable apparels ranting or lip-synching about their lust for sex. You wonder why girls would love to dance half naked for fully dressed men. Over 90% of the ditties and music videos of the so called Nigerian hip-hop artistes display impressionable school girls or call girls who portray themselves as sex objects without inhibitions and scruples and these immoral acts of carnality are seen as normal by the younger ones. They spend more time imitating these wayward role models and no wonder over 98% of them flunk their exams and the graduates among them are unemployable, because of poor academic performance.


Where are their parents?
Their parents have given up, and preferred to compete for status symbols and social class trophies of the Joneses of the primitive upper class in Nigeria. In fact, mothers have been known to act as pimps for their daughters. Majority of the poor parents even encourage their daughters to use sex to make ends meet for their families. One woman encouraged her most beautiful daughter who sponges on randy men to sleep with a rich married man for cash.


What is the government doing about the crisis?
The Nigerian government is corrupt and in fact caused the breakdown of law and order in the society as public officials misappropriated public funds with their accomplices in the private sector and have been using their ill-gotten wealth to seduce, oppress and suppress the poor masses who are their regular suppliers of servants and low income workers and their daughters are the cheap sex partners of the corrupt rulers who patronize the clubs in the red light districts of Lagos, Abuja, Port Harcourt, Warri, Uyo, Calabar, Owerri, Asaba, Onitsha and other hotbeds of prostitution. They are also the ones promoting campus prostitution or using their pretty and sexy female bank workers for marketing to seduce and sleep with rich men to lure them to patronize their banks.


Immorality is the root of the rot in the country. Most of the corrupt people are shameless and unrepentant. So, the solution is the eradication of corruption at all levels. Behavior change is going to be difficult, but the family and the government must address the dangers of pornographic entertainment online and offline, by the strict regulation of censorship. X-rated movies, music and other X-rated publications must be checked and controlled in private and public places. Moral education must be taught and good and noble family values and virtues must be the order of life.


Checking immorality and corruption is the solution for the control and prevention of the spread of HIV/AIDS in Nigeria and save our youths from wasting their lives. This is the only way we can secure the future of Nigeria.

Counselling skills training in adolescent sexuality and reproductive health A facilitator's guide, updated version Authors: World Health Organization Number of pages: 179 Publication date: 2001 Languages: English, French, Russian, Spanish WHO reference number: WHO/ADH/93.3 English [pdf 642Kb] French [pdf 3.3Mb] Russian [pdf 1.35Mb] Spanish [pdf 3.9Mb] OVERVIEW A guide to organizing and facilitating a five-day workshop with the purpose of strengthening the knowledge and skills of adults who counsel adolescents. Participants become familiar with the topics of adolescent sexuality and reproductive health. Emphasis is placed on interpersonal communication and listening skills. The principles of non-directive counselling are introduced. This approach aims to facilitate the young client’s overall development by strengthening self-understanding and enhancing their ability to deal personally with present problems and prevent future difficulties. The original document published in 1993 was updated in the European region in 2000 and incorporates issues related to HIV.

Win An all-expense-paid Trip to Washington, D.C., New York and Hollywood

About the challenge
Create a video short that completes the phrase “Democracy is…”
The Prize
• An all-expense-paid trip to Washington, D.C., New York and Hollywood.
• Gala screenings of the winning videos in Hollywood, New York and Washington
• Exposure to filmmakers and the U.S. film and television industry.
• Meetings with democracy advocates from government, media and civil society.
The Timeline
• SUBMISSION DEADLINE - MIDNIGHT GMT JANUARY 31, 2010.
• Challenge semifinalists will be selected on or about March 31, 2010.
• An independent jury will narrow down the semifinalists to 21 finalists on or about May 15, 2010.
• The general public will vote online for the winning videos May 15 – June 15, 2010.
• Seven winners – one each from the Western Hemisphere, Europe, Middle East/North Africa, Sub-Saharan Africa, South & Central Asia, East Asia/Pacific and one anonymous winner – will be announced in mid-June 2010.
• The six publicly identified winners, one from each of the six geographic regions, will travel to the United States to claim their prize in the fall of 2010.
The Details
• You must be 18 or older to enter.
• Videos can be any style: fiction or documentary, animated or live action.
• Videos must be no longer than three minutes.
• Videos must be in English or have English subtitles.
• Contestants may enter anonymously, but anonymous winners cannot collect the grand prize.
• See contest site for a complete list of rules, CLICK HERE TO ENTER NOW