In the ever-evolving landscape of social media activism, few figures have sparked as much discussion as VeryDarkMan. Recently, he made sensational allegations regarding the late rapper Mohbad and his former label boss, Naira Marley, asserting that Marley admitted to owing Mohbad a significant undisclosed sum of money prior to the artist’s tragic death in September 2023.

Mohbad’s demise has been shrouded in controversy, especially following his departure from Marlian Music. The allegations suggest a failure by the record label to honor contractual obligations, prompting many to question the circumstances surrounding Mohbad’s passing. Notably, Naira Marley and his associate, Sam Larry, were seen in a viral video engaging in troubling behavior towards the late artist, leading to accusations of their involvement in his untimely death.

On October 6, 2023, both Marley and Larry were arraigned and remanded based on these accusations. However, they subsequently pleaded not guilty and were granted bail. Despite their legal status, a growing faction of fans has chosen to boycott Naira Marley’s music and voice their dissent on social media platforms.

Ahead of Mohbad’s posthumous birthday, VeryDarkMan shared in a video that he had approached Naira Marley with an opportunity to publicly clear his name. He claims that Marley acknowledged the financial dispute between them and attributed the crux of their issues to Mohbad’s desire to change the management structure established by the record label.

VeryDarkMan’s assertions raise significant questions about transparency and accountability within the music industry, especially regarding artist-label relationships. As this narrative unfolds, the call for justice and clarity for Mohbad remains at the forefront, with many eagerly awaiting further responses from those involved.

“I offered Naira Marley my platform to tell his own side of the story about Mohbad’s matter but he said God will fight his battles”

Verydarkman pic.twitter.com/CTzOO2zrcY

— Dami’ Adenuga (@DAMIADENUGA) January 3, 2025

Recently, American content creator Woah Vicky expressed her observations following a visit to Lagos State, Nigeria. Known for its vibrant nightlife, Lagos stands in stark contrast to the pervasive issues of hunger and poverty that many of its residents face.

In a post on her X handle, Vicky shared her reflections, pointing out that while many visitors are drawn to the city’s entertainment scene, there exists a more pressing narrative that requires attention. “It is heartbreaking, sad to see visitors focusing on the parties only when there’s such a clear need for help. Nigeria needs prayer, missions, and tangible support, not just tourism for entertainment,” she articulated.

Vicky’s call for action underscores the necessity for a deeper understanding of the socio-economic challenges in Nigeria. As she aptly noted, mere tourism is insufficient; it is imperative for individuals and organizations to engage in initiatives that foster meaningful change.

In her concluding thoughts, Vicky urged her followers to pray for Nigeria and consider ways to contribute positively to the country’s future. This thoughtful commentary serves as a reminder that amidst the allure of leisure and entertainment, the plight of those in need should not be overlooked.

In a candid revelation, popular Nigerian singer Odumodublvck has shared his intriguing perspective on his relationship with music, fundamentally challenging the conventional notion of an artist’s love for their craft. In a recent interview, he articulated that while he regards music as a reliable companion, he does not harbor feelings of love towards it.

Odumodublvck described music as a “stand-up guy,” emphasizing its consistent reciprocation of the effort he invests in his work. He stated, “Whatever works you put in there is what music go give you; music no dey cheat person.” This assertion highlights a pragmatic understanding of the songwriter’s journey, wherein success is directly correlated with dedication and hard work, rather than an emotional attachment to music itself.

Despite his recognition of music’s reliability, Odumodublvck was unequivocal in stating, “to say I now love music, NO NO NO NO,” positing that music has not gone beyond the bounds of a professional transaction to provide him with any personal benefits. Instead, he views the relationship as one of mutual effort and return.

This perspective invites reflection on the multifaceted nature of artistic engagement and the varied motivations that drive creators. Odumodublvck’s honesty serves as a reminder that for many artists, the journey is more about diligence and result than an inherent passion for the craft itself.