Tanzanian musician Juma Jux has firmly refuted rumors alleging he fathered a seven-year-old child, dismissing the claims as entirely baseless.....KINDLY READ THE FULL STORY HERE▶

After the speculation spread across digital platforms, Jux addressed the issue via a public statement. He initially opted to stay silent, viewing the rumors as lacking credibility, but ultimately chose to speak out to protect his hard-earned reputation, family, businesses, and public image. The singer noted that this is not the first instance of such claims being directed at him.

Recalling a previous occurrence of the rumor, Jux stated that he reached out directly to the woman involved to get to the bottom of the situation. According to Jux, she admitted they had never met in person and that no romantic ties existed between them, while also urging him to ignore the gossip at the time.

Jux is married to Nigerian media personality Priscilla Ojo, with whom he welcomed a son, Rakeem, in August 2025.

British-Nigerian heavyweight rising star Moses Itauma is set to square off against Filip Hrgović tonight, August 29, at 10:30 pm at London’s O2 Arena for the vacant IBF heavyweight championship.....KINDLY READ THE FULL STORY HERE▶

Veteran Nollywood actor Francis Duru has expressed deep concern over the Igbo community’s failure to maintain dominance in the Nigerian film industry, despite playing a foundational role in its explosive growth during the 1990s and early 2000s home video boom.....KINDLY READ THE FULL STORY HERE▶

Speaking on the YouTube show Gbam by Yan Content Factory on Friday, Duru credited the Yoruba film sector’s current prominence to superior organization, collective support, and a strong sense of cultural preservation. While acknowledging the historical 1950s contributions of Yoruba pioneers like Herbert Ogunde, Duru maintained that the modern Nollywood commercial era was built by Igbo entrepreneurs.

However, he argued that an overly individualistic mindset among Igbos has caused them to lose their footing, allowing other groups to capture the market space and even produce distorted representations of Igbo culture.

“The Yorubas epitomise the saying, ‘Charity begins at home.’ We need to learn from them. If you don’t protect and project your own, who will do it?” Duru stated.

Contrasting the digital landscape of streaming platforms with the current industry dynamics, he noted that original Igbo-heritage content is scarce on services like Netflix, whereas Yoruba filmmakers have strategically capitalized on new market spaces. He attributed this shift to the collaborative business model adopted by Yoruba investors who pooled resources to back their creatives, contrasting it with the insular tendencies of early Igbo traders who pioneered the industry without building lasting institutional support.

Duru urged his community to avoid misplaced resentment toward the success of others and instead focus on self-reflection and structural investment. He highlighted a troubling trend where talented Igbo writers are migrating to work on Yoruba projects, and where non-Igbo filmmakers are attempting to tell Igbo epic stories—such as Ahamefuna—often resulting in inaccurate cultural portrayals.