Nollywood actress, Uche Jombo, has requested that American rapper, 50 Cent, cast a Nigerian actor as the main character in his upcoming Hushpuppi series.
She said this in a comment she made on 50 Cent’s Instagram page on Wednesday.
50 Cent has announced plans to release a series based on Ramon Abass aka Hushpuppi, who was imprisoned for 11 years for defrauding over 1.9 million people saying, “For my scammers I gotta do this one, Hushpuppy series coming soon!”
Jombo commented on his post requesting for a Nigerian actor. She said, “Please give a Nigerian actor the opportunity to play this character.”
American rapper and producer, Curtis Jackson better known as 50Cent has hinted at making a TV series about convicted fraudster, Hushpuppi.
Recall that Hushpuppi was convicted of money laundering and was sentenced to 11years in prison.
On his Instagram page, 50cent revealed his plans to make a tv series with the convicted Nigerian socialite, Hushpuppi.
“For my scammers I gotta do this one Hushpuppy series coming soon! GLG! GreenLightGang I don’t miss”.
Ramon Abbas popularly known as Hushpuppi had been sentenced to 11 years in prison by The US Central District Court in California.
However, Hushpuppi will spend only 9 years in US prison because he has already spent 2 years.
Recalls that Hushpuppi was arrested in Dubai over defrauding victims of millions of dollars in numerous countries.
He pleaded guilty to conspiracy to engage in money laundering with multiple people within and outside the US to ladder the proceedings.?
He was sentenced after appealing to US Judge, Otis Wright, as he scored high in cleaning activities while in prison.
Meanwhile, Hushpuppi’s Instagram page, which has 2.8 million followers, has vanished from the image-sharing platform. It is however unclear whether it was officially removed from Instagram or if the page was temporarily disabled by someone with access to it.
Actor Joseph Okechukwu Makes Wild Allegations Against Davido
Popular Nigerian Actor, Joseph Okechukwu, has levelled some wild allegations towards the Nigerian singer, David Adeleke, well known as Davido over the death of his 3-year-old son, Ifeanyi.
Recall, PEAKNEWS reported that Ifeanyi Adeleke drowned in swimming pool on Halloween day at his father’s mansion, days after he celebrated his 3rd birthday.
Speaking on the mystery behind his demise, Actor Joseph Okechukwu made some serious allegations against Davido.
Joseph analyzed the events that led to Ifeanyi Adeleke untimely death on Monday the 31st of October 2022,.
The movie star accused the Singer of sacrificing his son to the Illuminati on Halloween day, as a part of a mandatory human sacrifice to move up the ladder of success.
According to him, the singer’s bargain with the devil led to Ifeanyi’s sad exit story.
In his opinion via his YouTube channel, okechukwu alleged that there is no way Ifeanyi would have walked passed 9 domestic staff in Davido’s mansion without being noticed and went straight to the pool. Stating that there was more to it.
He gave the examples of other Hollywood celebrities who have also gone through similar strange sacrifices.
Tiwa Savage, a Nigerian afrobeats singer, has recently released a song named “Loaded” with Asake, in which she discusses her leaked sex tape that went viral.
Tiwatope Savage, often known as Tiwa Savage, was in the news in August 2021 when she refused to pay a set number to blackmailers who threatened to disclose her sex film online if she did not pay them. Due to not cooperating with them, the sex tape was made public.
Tiwa Savage’s part in the recently released song “Loaded” provoked various online issues; although many praised the musician for her courage, others argued that the verse was unnecessary.
“Awon blogger blogger t’on fe fi mi gba star. She sang, “Sex tape o’le baye mi je (Nibo?) Igbadun kekere yen” (Those bloggers believe they can use me to shine; Sex tape cannot ruin my life, this small pleasure).
The recently released song is an Amapiano style of music made by Magicsstixx, and TG Omori directed the accompanying music video.
Based on authentic events in Nigeria’s Oyo of 1943, Elesin Oba: the King’s Horseman is a story set in the backdrop of World War II. Inspired by Wole Soyinka’s play titled Death and the King’s Horseman. The movie was tailored onto the screen, directed by Biyi Bandele, screenplay starring Odunlade Adekola, Shaffy Bello, Deyemi Okanlawon, Omowunmi Dada and more.
The film was produced in partnership between Mo Abudu’s EbonyLife Studio and Netflix.
Running for a duration of 96 minutes, the movie centers across the lifestyles of the King’s horseman and Chief, who have to carry out the ritual sacrifice and comply with his King to the afterlife to maintain his community’s harmony. However, his initially putting it off to satiate his sexual appetite, and the following intervention of the British force’s comprehension of the same as ‘barbaric’, overturns the maintained balance in the Yoruba community.
The splendor of the movie starts with its screenplay being penned in the local mother tongue of the Yoruba community. Soyinka himself was a Nigerian writing in English, but one’s thought process is always ruled by their mother tongue which now finally finds its voice in the film adaptation. The onset itself takes us back to Yoruba origins telling their tale in their voice, foregrounding the basis of a good and diverse illustration.
Soyinka was keen on destabilizing the crucial evaluation of his play as a “clash of cultures” because that would basically correspond to the idea that both cultures were on the same plane, which wasn’t the case. The movie brings in the representatives of both cultures, while also presenting a middle ground in negotiating the terms between the two in Olunde’s character.
A steady emphasis is drawn on the term “The White Man’s Burden” coined by Rudyard Kipling as its portrayal is overturned in the storyline so presented. The savior complicated harbored by the British is all about setting the ‘savages’ free from the constraints of their ‘lesser’ culture and its customs. However, what this movie and Soyinka’s authentic play strive to achieve is a illustration of a community that barely got a chance to voice itself upon its agency being usurped by the colonial forces. The most essential takeaway is that if something stands far from one’s understanding, it doesn’t automatically become synonymous with being lesser than a counterpart deemed superior to it.
The British officer and his wife put on what are customarily the clothes of the dead as per the Yoruba culture but their seeming glittery visage is mistaken by the colonial forces as an embellishment or ‘costume’. They lack the basic understanding and context of the Yoruba culture and don’t even show any intentions of mastering about it, instead they choose to paint a picture of their own sense of calm and peace in the midst of a warring state of affairs by holding a grand ball that is to be graced by the Prince, who despite being the absolute symbol of western power, must stay aloof from the ground reality of those his Empire is supposedly ‘ruling over’.
Choices of costumes put on by either community are a symbol of their wonderful identities, yet even therein, markers of progress or the lack thereof are presumed, drawing out a hierarchy between them. The western dress of a suit and tie is accepted as sophisticated but the clothes sported by the African community, though closer to their humble origins are once again deemed starkly different, thus inferior by the former.
Bandele’s screenplay returns triumphant in yet another visual as well as auditory success as it retains Soyinka’s imaginative and prescient and focus on music highlighting the identity of the Yoruba mind. Bridging the gap between the “global of the living, the dead and the unborn”, the universality of their music founds the basis of the African identity. Moreover, music also acts as an aiding means of overall storytelling and narrating various events through their life – weddings, death, birth, and more.
While watching the film, viewers must turn away from lowering the dialectics of politics to a mere ‘conflict’ as stated before. Instead, we should take into count how each of these cultures has been ingrained in its counterparts. Neither of them should be declared a victor or a victim because each of them has its own share of shortcomings as well as aspects that need to be respected.
The Yoruba community is predominantly envisioned as matriarchal with women taking the lead and charging against the ones who seek to assault their culture. However, at the same time, in spite of their empowering stance, we can’t turn a blind eye to how young girls in the same community are made into silent bearers of the adults’ discretion, whether the decision is mindful or not.
A grand focus is paid to the notion of one’s duty – to one’s role, to one’s profession, to one’s family and community. Elesin puts off his duty to his King by giving in to his sexual desires, thus eventually overturning someone else’s life as well as his own into a tragedy. While the image of his suicide is viewed as a matter of celebration by both his community and himself, the colonial powers deem it as a crime being committed.
The storyline and the characters so presented are lined up to deliver a simple yet hard-to-accept message about both communities coming together to understand their respective perspectives. Violence only arises when the two fail to communicate and the dialectics of the Us Vs Them is ignited. Therefore, it isn’t necessarily the culture and customs that need to be held accountable but the actions of the individuals who are the markers and carriers of the same.
After king dies, a horseman need to sacrifice himself to serve his ruler in the afterlife – but sudden distractions lead to surprising tragedy.
Peak News 
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