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My account of Mohbad’s story, Naira Marley speaks out on Mohbad’s Death

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Popular musician, Azeez Fashola, also known as Naira Marley, has shared his side of the story that led to the death of his former signee, Promise Aloba, aka Mohbad.

Naira Marley made the disclosure in a documentary of about two hours on Wednesday, narrating how his ex-signee began his musical journey in his label and how he eventually died.

According to him, he never bullied Mohbad nor killed the ‘Ask About Me’ and ‘KPK’ crooner.

Mohbad died on Tuesday, September 12, 2023, at the age of 27.

In February, a Magistrate’s Court in Yaba, Lagos, acquitted Naira Marley and music promoter Sam Larry (Samson Balogun) of blame over Mohbad’s death.

The court also freed Primeboy (Ibrahim Owodunni) and Mohbad’s former manager, Babatunde Opere.

In July, the Coroner’s Court sitting in Ikorodu recommended the criminal prosecution of Feyisayo Ogedengbe, the auxiliary nurse who treated Mohbad shortly before he died.

Magistrate Adedayo Shotobi said the nurse acted with gross negligence by administering an injection to the singer without a doctor’s prescription.

Although the court ruled out foul play or homicide in the case, it held that the actions of the nurse were both “unlawful and professionally negligent”.

However, speaking in the new video, Naira Marley alleged that on June 7, 2020, he learnt that Mohbad was using some illegal substance called Ice.

“He told me he was taking a substance which I finally found out to be Ice (crack). I wasn’t angry, I called him and advised him and told him about the danger because I know the damage it has done to people I know from the United Kingdom. He said he got into it because of stress, but said he would stay out of it. I didn’t force him to do anything,” the singer said.

The japa crooner also showed evidence that Mohbad picked his own manager in July 2020.

“He was planning to pay Tunde 25 per cent. I said ‘No, 10 per cent. My things are always plain with him. I try as much as possible to be transparent with every ounce of our dealings, and it’s all love.

“Our business is plain, even though we got accountants. We did 50-50; this is the first time I’m saying it. I paid for anything and everything and then we split 50-50,” he said.

He also debunked the rumour of Mohbad being afraid to visit the hospital, showing a WhatsApp chat from November 2020 where he visited a hospital.

On February 24, 2022, officers from the National Drug Law Enforcement Agency (NDLEA) raided the Marlian house and took Zinoleesky and one Subomi.

Naira Marley, who said he was in Sweden at the time, noted that Mohbad was taken along because he had a physical altercation with the officers.

“Mohbad went live (on Instagram) under duress shortly after he was released. While having a panic attack he accused me and others,” he said.

“During the live session, Mohbad said, “’If I die, everybody na Marlian Music, Naira Marley kill me.’

“On their way to the hospital, he also accused his girl, Zino, a lot of people. He even accused our wives. Shortly after that, whilst in a vulnerable state of psychosis, he made a statement calling Zino a snitch,” said Naira Marley.

After that incident, Mohbad remained in Marlian Music.

Naira Marley said Mohbad, his parents and his girlfriend Wunmi apologised for the singer’s actions.

The ‘Soapy’ singer said that after the NDLEA incident, Mohbad stopped staying frequently at Marlian house. He said he tried to get Mohbad help by paying for health checks and medications.

On March 27, 2022, Mohbad attempted suicide. Naira Marley said he was in Puerto Rico at the time.

On his return to Nigeria, he said he spoke with Mohbad about his online search for a deadly insecticide called Sniper. Naira Marley said he also spoke with Mohbad’s parents, and they concluded that Mohbad should be taken away.

Naira Marley said that on a fateful day, Mohbad was intoxicated and came to Marlian’s house to fight his manager after they fell out.

The singer stated that following the incident, Mohbad took to Twitter, now X, accusing him (Naira Marley) of making threats to his life because he sought to part ways with his manager.

“We suspect Mohbad had given his phone to someone to fabricate the story,” said Naira Marley.

On October 7, 2022, Mohbad’s lawyer wrote a letter to Marlian Music, saying the musician wanted to leave the record label. Naira Marley said he sent the payment log to Mohbad’s lawyer to show transparency in their financial transactions.

“Not long after that, in December 2022, Mohbad withdrew $72,000 from a DSP partner. All these monies he took were not his. We had to hold some of his royalty payment till he returned the money he took,” he said.

Naira Marley noted that after Mohbad withdrew the money, he stopped hearing from him and his lawyers.

He said that the last time he saw Mohbad was on October 4, 2022, on the day of the latter’s fight with his manager.

According to Naira Marley, he was in Amsterdam on the day of Mohbad’s death. He said people began accusing him of being involved in Mohbad’s death.

Naira Marley said he expected that those who were with Mohbad 24 to 48 hours before his death should have been arrested.

He also said Sam Larry explained to him that he had no hand in Mohbad’s death, and he believed him.

“I’ve never sent anybody to bully him,” he said.

Naira Marley criticised the police for detaining him for two months in Panti, Yaba, Lagos, after he returned to Nigeria to clear his name.

He, however, stated that all royalties from Mohbad’s music during his time at Marlian Music remain intact, and his lawyer, along with whoever the family appoints, can collect them.

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Adekunle Gold embraces Nigerian roots with new album ‘Fuji’

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Nigerian singer Adekunle Gold returns to his roots on Friday with the release of his sixth album, “Fuji”, which he described as a tribute to the ancestral sounds of his home country.

“That sound is the soundtrack of Lagos. It’s everywhere. That sound gave birth to Afrobeats and all the things that we hear right now,” Gold told AFP in Paris.

A descendant of the Kosoko royal family, the Afropop icon draws inspiration from the Indigenous Yoruba community, one of the largest ethnic groups in West Africa.

It is “one of the oldest sounds of Nigeria”, the 38-year-old singer said.

Fuji music, a popular genre that evolved from Yoruba Muslim culture, is known for its fast beats, large ensemble of percussion instruments, and lyrics based on key sociopolitical themes.

The genre took off in Nigeria in the 1960s, shortly after the country declared independence.

Late singer-songwriter Ayinde Barrister, widely regarded as the pioneer of Fuji music, named the style after the famous Japanese mountain.

Gold blends traditional elements from Nigeria’s rich musical heritage with the catchy melodies of contemporary R&B.

Like Burna Boy or Davido, he represents this generation of Nigerian artists who have bridged divides between past and present for an international audience.

“You listen to it, and it makes your body move. It’s magical,” the singer said.

“Fuji, Highlife (another traditional genre), every sound from Nigeria makes you feel alive. I feel like that’s why it does well,” he added.

Full of colourful outfits, lively dancing, and flower-covered boats, his “Party No Dey Stop” music video — a viral duet with fellow Nigerian Zinoleesky — has amassed 29 million views on YouTube.

The song is his first major hit in the United States.

Gold, also known as AG Baby, gained fame in Nigeria in 2014 after he covered a song by popular boy band One Direction.

Since then, he has signed with American label Def Jam Recordings and has collaborated on the track “Falling Up” with funk legend Nile Rodgers and musician Pharrell Williams.

Spreading culture

Gold invites listeners to delve deep into the latest album, an emotional journey inspired by significant events from his life.

“I talk about my grief when I lost my father. I talk about my love life, my daughter, about being a family man,” he explained.

While Gold lives in the United States, he said his “heart is in Lagos”.

“I’m spreading the culture, talking about my heritage, talking about tradition,” he said.

However, challenges persist in Nigeria, where nearly 60 per cent of the population lives below the poverty line

“There have been steps in the right direction,” Gold said as he expressed hope for the future of his country.

“It is not enough for the government to do everything,” he added, calling on people to “do what we can as citizens”.

Committed to the fight against sickle cell disease, which he has lived with his entire life, Gold launched a foundation this year to fund treatment and support local charities.

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Lara George: Nigerian Gospel Icon with a Global Voice

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Lara George is a Nigerian gospel singer, songwriter, and producer whose powerful voice and timeless songs have made her one of the most respected figures in African gospel music. Based in the United States, she continues to influence gospel music worldwide through her artistry, leadership, and devotion to worship.

Early Life and Education

Lara George was born into a music-loving family in Lagos State, Nigeria. Her passion for singing was evident from an early age, and she nurtured her talent while growing up in Lagos. She later studied Architecture at the University of Lagos, where she also began to actively pursue her passion for gospel music.

Musical Career and Breakthrough

George rose to prominence as a member of the inspirational music group Kush, active in the early 2000s. The group, made up of gospel-influenced young artists, became popular for its innovative fusion of gospel, hip hop, and contemporary African sounds. Though the group disbanded, it laid the foundation for George’s successful solo career.

Her debut solo album, Forever in My Heart (2008), included the breakout hit “Ijoba Orun.” The song quickly became a gospel anthem in Nigeria, sung in churches and concerts across Africa and beyond. Its success established Lara George as one of the leading gospel voices of her generation.

Following this, she released other notable projects, including Higher (2012), Love Nwantintin (2014), and The Best of Lara George (2017), showcasing her versatility and consistency as a gospel artist.

Achievements and Recognition

Over the years, Lara George has earned numerous accolades. She won Best Female Gospel Artiste at the 2012 Africa Gospel Music Awards, among other honors.

Beyond her music, George has contributed to the industry through leadership. She serves as the Vice President of SoForte Entertainment Distribution Ltd., a pioneering Nigerian company focused on strengthening music distribution across Africa.

In 2021, her global impact was further recognized when she was invited to join the Recording Academy (organizers of the Grammy Awards) as a Voting Member, affirming her status as an international gospel voice.

Personal Life

Lara George is married to Gbenga George, an accomplished legal practitioner. Together they have two children. The family resides in Alpharetta, Georgia, United States, where George balances her family life with her music career and industry work.

Legacy and Influence

Lara George’s music blends heartfelt worship with contemporary gospel sounds, inspiring believers and non-believers alike. Songs like Ijoba Orun remain evergreen classics, while her career continues to highlight the global reach of Nigerian gospel music.

Through her voice, leadership, and consistency, Lara George has left an indelible mark on gospel music, both in Nigeria and internationally.

Sources

Vanguard Nigeria – Lara George: Life as a Gospel Singer (2018)

Africa Gospel Music Awards – Winners List 2012

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The 1973 Nigerian “Hides and Skins” Postage Stamp: A Window into Economic Identity

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In 1973, Nigeria introduced a new definitive postage stamp series to reflect the country’s transition from the British sterling system to the Naira and Kobo currency. Known as the Industry and National Pride issue, or simply the 1973–1986 Definitive Issue, the series highlighted major sectors that shaped Nigeria’s economy and cultural identity in the post-independence period.

Among the most notable designs in the set was the 1 kobo “Hides and Skins” stamp, which depicted the trade in animal hides and skins. This was not a casual choice. For decades, hides and skins were one of Nigeria’s leading agricultural exports, particularly from the northern region, and they played a major role in the nation’s foreign exchange earnings during the 1960s and 1970s. By placing this industry on a definitive stamp, Nigeria emphasized its economic significance while also projecting a sense of national pride rooted in traditional livelihoods.

The Role of Definitive Stamps

Unlike commemorative stamps, which are printed for specific events or anniversaries, definitive stamps are produced for everyday postal use and often remain in circulation for many years. The “Hides and Skins” stamp, therefore, went beyond a symbolic tribute. It became a practical emblem of Nigerian economic identity, traveling across the country and abroad through the nation’s postal system.

Artistic Contributions

The 1973 series included designs created by Nigerian artists such as Austin Onwudimegwu and Erhabor Emokpae, both of whom contributed to different denominations in the set. While collectors and catalogues acknowledge their involvement in the issue, attribution for specific denominations, including the “Hides and Skins” design, is not always clearly documented. What remains clear, however, is that the series as a whole reflected a conscious effort to use Nigerian artistic talent to celebrate national industry.

A Stamp as History

To philatelists and historians, the “Hides and Skins” stamp is more than just a piece of postal paper. It embodies a snapshot of Nigeria’s economic priorities at a time when agriculture, rather than oil, still dominated the country’s exports. It also reflects the broader post-independence aspiration to craft a distinctly Nigerian visual identity in official symbols.

Today, this stamp is valued not only for its function and design but also for its historical resonance. It offers collectors and researchers a window into how a young nation sought to represent itself to the world—through industry, culture, and pride.

Sources

Stanley Gibbons Stamp Catalogue: Commonwealth and British Empire Stamps (West Africa listings).

Scott Standard Postage Stamp Catalogue (Nigeria 1973–1986 definitive issues)

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