PAUL OKEUGO AUDU MAIKORI
Building Africa’s Creative Empire
EDITOR’S NOTE
CPhoto: Kola Oshalusi @insignamedia Makeup: Zaron
o-founders of Chocolate City, Audu Maikori and Paul Okeugo, mark two decades of the company this year. Looking back, they recall one of their defining moments: signing M.I. Abaga and the release of Talk About It in 2008. According to Maikori, that album became a cultural reset, shifting the perception of Nigerian rap and Afrobeats entirely. It demonstrated that Nigerian music could be both lyrically sharp and commercially viable, and globally appealing. They knew it was risky to centre a new sound around a rapper at a time when the market was dominated by dancehall and pop. Still, they backed their conviction with a strategic approach of aggressive digital marketing, nationwide tours, and building an entire narrative around artistry. Another pivotal moment was when they decided to professionalise the music business: at a time when most labels were informal collectives, they implemented contracts and royalty structures.
Read about Audu Maikori and Paul Okeugo on pages 8 through 10 of this issue.
Many people think the colour brown is dull and uninteresting, but it depends on the colour you pair it with. When paired right, it can be very stylish. Our fashion pages suggest colours that pair nicely with brown. See pages 4 and 5.
In the past, having a skincare routine was often seen as a feminine pursuit. However, nowadays, more men are embracing this beauty ritual, understanding the importance of taking care of their skin. The good part is that you don’t need to splurge on many products; just a few to start with will do the trick. We list the products you need on page 12.
Don’t forget to download the playlist on page 16. You’ll enjoy the selection.
Until next week, enjoy your read.
@onahluciaa + 2348033239132
AUSTYN OGANNAH
PUBLISHER/EDITOR-IN-CHIEF
Executive Editor: Onah Nwachukwu @onahluciaa
Writer: Johnson Chukwueke
Design & Layout: Olaniyan John ‘Blake’
Digital Media: Oladimeji Balogun
Consulting Art Director: Sunny Hughes ‘SunZA’
04-05 FASHION #UNSHAKABLE TRUTHS
6 Stylish Colours to Pair With Any Brown Outfit
CONTENT
Easy Ways Remote Workers Can Stay Active During the Day 5 Tips For Men Starting a Skincare Routine Untold Truths The Fatherhood Silence
FITNESS
8-10 15 16 14 REVIEW DOWNTOWN CONFIDENTIAL
Audu Maikori & Paul Okeugo
Building Africa’s Creative Empire
Friendship in Your 40s: Fewer People, Better Wine
Boluwatife Adesina @bolugramm
- Contributing Writer
My Story With Mayowa
Dorcas Akintoye @mila_dfa_ - Contributing Writer
Dorcas Akintoye is a dedicated writer with 5 years prolific experience in writing articles ranging from food, entertainment, fashion and beauty. She loves writing, listening to music and playing scrabble. She is a highly-skilled, enthusiastic, selfmotivated professional writer. The Long Walk
Sally Chiwuzie @unshakable.is.a.state.of.mind
- Contributing Writer
Boluwatife Adesina is a media writer and the helmer of the Downtown Review page. He’s probably in a cinema near you.
Technology For Better Rest And Recovery TECHTALK @yettyd
Sally Chiwuzie is a non-practising barrister who owns the brand #Unshakable. She is the author of Silent Symphonies, a fictional love story, and the creator of the podcast Chronicles of #Unshakable Truths.
Ada Obiajunwa @aaddaahh
- Contributing Writer
Ada Obiajunwa writes from Lagos about the big truths tucked inside ordinary moments — friendship, self-discovery, and the quiet revolutions of everyday life. She believes in the power of presence, good banter, and decoding the unsaid. Through her fragrance studio, WhiffWonders, she also crafts scents that weave memory and emotion into experiences that feel like home.
@ngozyatta @ivyleaguecollections
There she goes again well done Inya !
LUXURY SILK
ANY BROWN OUTFIT 6 STYLISH COLOURS TO PAIR WITH FASHION
BY DORCAS AKINTOYE
Brown is one of the most underrated colours in the fashion world. Many people think it’s dull or old-fashioned, but when styled correctly, brown can look elegant, classy, and timeless. Brown is also versatile because it comes in various shades, including light beige, camel, chocolate, and deep espresso. The secret to making brown outfits stand out is pairing them with the right colours. The right colour combination can transform a simple brown dress, suit, or top from ordinary to stylish. Here are six stylish colours that pair perfectly with brown outfits.
Brown and white are a match made in fashion heaven. White brings freshness and brightness to brown, making it look clean and polished. If you’re wearing a brown outfit, adding white creates a sense of balance. You can also style a brown dress with white heels or a white handbag to make it look lighter. This colour combination works perfectly for both casual and formal occasions.
Beige or nude tones blend beautifully with brown because they are in the same colour family. This pairing gives a very soft, elegant, and expensive look. You can also pair nude heels or a nude bag with dark brown outfits for a stylish balance. This combination is perfect when you want to look chic without overdoing it. BEIGE/NUDE
BLUE
Brown and blue complement each other perfectly.
The cool tones of blue balance the warm tones of brown, creating a stylish contrast. Denim, which is naturally blue, also looks amazing with brown pieces.
Pairing brown leather jackets with blue jeans is a classic style that never goes out of fashion.
PINK
Pink and brown together create a soft but fashionable look. The sweetness of pink tones down the seriousness of brown, making the outfit look fun and stylish. Whether it’s light pink for a romantic vibe or hot pink for a bold statement, this combination always looks trendy and eyecatching.
FASHION
GREEN
Green pairs well with brown because they are both earthy tones, making the combination look natural and soothing.
Olive green or forest green with brown creates a rich, stylish look. Accessories like green earrings, bags, or shoes can also add a pop of colour to your brown outfit without looking too loud. This pairing is perfect for those who want something unique yet classy.
YELLOW OR MUSTARD
Yellow adds brightness and energy to brown, making the outfit really stand out. You can also add a yellow scarf, bag, or shoes to a dark brown outfit for a burst of colour. This pairing is ideal for individuals who prefer to stand out without appearing too flashy. It’s a cheerful combination that brings your outfit to life and adds personality.
Brown does not have to look boring. With the right colour combination, it can look stylish, modern, and classy. Whether you want something simple, fun, or bold, these colours will always complement brown perfectly.
SALLY CHIWUZIE @unshakable.is.a.state.of.mind
UNTOLD TRUTHS THE FATHERHOOD SILENCE
From the outside, he was everything a man was supposed to be. He provided. He protected. He showed up. His children never went hungry, his wife never lacked a roof, and his family had the respect of their community. He was praised as reliable, a pillar, the man who did it right. But behind closed doors, silence filled the spaces where love should have been.
His wife felt it most. She tried to reach him, to pull him into conversations about feelings, about needs, about the cracks widening between them. Each time she was met with the same weary retort: “What is it you and the children want that I have not provided as a father, a husband, and as a man?”
And each time, she gave the same answer: “You have provided everything. But I want
your heart.” He looked away. Not out of cruelty, but because he could not give what he did not know how to offer. His upbringing had not taught him tenderness, only stoicism. Society had not rewarded vulnerability, only strength. And love — real, consuming love — had come for him too late, in the arms of someone else. By day, he performed his role. By night, he drifted into the streets, searching for what lay at the end of the rainbow. He found her — the mistress who unlocked a part of him he thought long buried. With her, silence was not emptiness but comfort. With her, he laughed, he touched, he felt alive. For the first time in years, his heart beat for someone.
And yet, he could do nothing about it. He would never leave. Duty and culture bound him tightly. His family name, his children, his religion — all of it demanded he remain where he was, even as his soul pulled elsewhere. So he lived two lives: the dutiful husband at home, the man in love elsewhere. The mistress understood this, perhaps more than he did. On the surface, she benefited. She had him in moments, without the full weight of a shared life. She had the thrill, the intimacy, the declarations whispered in shadows. She could love him without having to live the grind of marriage.
But she, too, battled demons. For every moment of stolen joy, there was the sting of society’s labels: homewrecker, interloper, shame. For every selfish advantage — no in-laws, no financial strains, no mundane routines — there was the grief of knowing she could never claim him openly. She loved him, but her love was trapped between selfish convenience and a longing for legitimacy. So they existed in limbo. Two people who found in each other what they could not find elsewhere, yet bound by a silence that grew heavier with each passing year.
To outsiders, the judgment was simple: he was selfish. He gave his wife money but not his heart. He gave his children stability but not presence. He gave his mistress passion but not a future. He lived for himself.
But to those with gentler insight, his story was more complicated. Perhaps he was a victim — of a stoic upbringing, of cultural scripts that never allowed men to cry, to confess, to love with abandon. He had been told his duty was provision, and he did it well. No one taught him that provision without presence is a half-love, or that silence can starve a marriage as surely as betrayal. And still, what does one call a man who loves outside his vows but cannot leave them? Villain? Victim? Both? In the end, he gave everyone something, but no one everything. His wife had his name, his children had his duty, his mistress had his heart. And he — he had silence. Perhaps this is the #Unshakable truth: that some men are damned if they do, damned if they don’t. Until society allows men to be as human in their emotions as they are in their duties, we will continue to raise husbands who provide roofs but not warmth, and fathers who give security but not intimacy. And the women who love them — wives and mistresses alike — will continue to ache for a heart that cannot be given. ‘See’ you next week.
AUDU MAIKORI PAUL OKEUGO
Building Africa’s Creative Empire &
African creativity is one of the world’s greatest treasures. Over time, visionaries began to see that while our culture speaks for itself, global audiences often need a bridge, something that helps them understand our stories without stripping away what makes them uniquely African. By finding that balance, African talents have been able to achieve things they never thought possible: topping international charts, filling global arenas, and turning our local sounds into worldwide anthems.
Two of those visionaries are Audu Maikori and Paul Okeugo, the men behind Chocolate City. What began in 2005 as a record label has evolved into a 360-degree entertainment powerhouse that has helped propel Afrobeats worldwide. Together, they have built an empire that not only discovered and nurtured some of Africa’s biggest stars but also expanded into media, distribution, and even film through their bold Pixel Ray Studios project. This year marks Chocolate City’s 20th anniversary, a milestone made even more special by Paul Okeugo’s revelation that the company’s enduring strength comes from a simple principle, which is putting artists first.
With this foundation, they have built partnerships across the globe, achieved groundbreaking results locally, and created a blueprint for Africa’s creative economy.
In this interview with THEWILL DOWNTOWN’s Executive Editor, Onah Nwachukwu, the Chocolate City visionaries discuss their journey, the legacy of 20 years, their ambitious plans for the future, and how they are shaping Africa’s creative story for the world to see.
AUDU MAIKORI
Chocolate City has been a key driver in shaping Afrobeats into a global sound. Looking back over two decades, what were the most defining moments that cemented the label’s influence, and how did you navigate the risks at those points?
The first defining moment was signing M.I. Abaga and the release of Talk About It in 2008. That album became a cultural reset, shifting the perception of Nigerian rap and Afrobeats entirely. It demonstrated that Nigerian music could be both lyrically sharp and commercially viable, and globally appealing. We knew it was risky to centre a new sound around a rapper when the market was dominated by dancehall and pop, but we backed our conviction with a strategic approach: aggressive digital marketing, nationwide tours, and building an entire narrative around artistry. The second pivotal moment was when we decided to professionalise the music business. At a time when most labels were informal collectives, we implemented contracts, royalty structures, A&R processes, and a proper label-artist value chain. This approach enabled us to attract top talent and establish long-term partnerships. The CKay moment with Love Nwantiti proved that African music, when packaged right, could travel further than anyone imagined. From Nigeria to TikTok to Billboard Hot 100. Behind that success lay years of incubation, rights management, and groundwork for digital distribution. One crucial strategy our team implemented was creating multiple versions of the song - about 10 different versions - which helped it travel globally and resonate across various markets.
Our strategic partnership with Warner Music Group, through ADA, validated our market presence internationally. With scale came complexity: equity discussions, licensing negotiations, and maintaining our independence. We had to be clear on what was non-negotiable: control of our catalogue, protection of our artists, and staying rooted in our vision for African creative ownership. Every inflexion point came with risk, but we were always guided by core principles: bet early and back deep on talent, protect IP at all costs, structure before hype, and collaborate globally while negotiating locally. Chocolate City played a significant role in laying the foundation for what Afrobeats has become today.
You’ve expanded Chocolate City’s footprint into cities like Nairobi, Lagos, and Atlanta. What have been the biggest challenges and lessons in translating African creativity to resonate with global audiences without losing its authenticity?
The biggest challenge was realising that global appeal requires context rather than compromise. African creativity is powerful because it’s rooted in deep cultural truths, but global audiences often need a bridge. The lesson was to tell African stories in a way the world can understand without losing what makes them uniquely ours. In many African markets, we’ve had to build systems ourselves, including legal frameworks, digital distribution, royalty tracking, and A&R pipelines. In global cities like Atlanta, we had to educate partners on how African IP works, which often meant challenging outdated industry assumptions. Taking African talent into markets like the U.S. or Europe required blending artistic talent with business acumen. We’ve trained our artists on branding, performance standards, media handling, and deal structures. We’ve also trained global executives to understand that African creativity is diverse, dynamic, and extends far beyond any single genre. There’s constant tension between visibility and control. The global music industry often wants the product but expects to control the context. We’ve been deliberate about
retaining rights, pushing for co-ownership in deals, and insisting on African voices in the room as producers, executives, and partners. Atlanta showed us the power of the African diaspora in amplifying our reach. Collaborations with African-American artists, producers, and business leaders have opened new doors because there’s shared history and cultural synergy. Strategic alliances amplify authenticity rather than erasing it.
Pixel Ray Studios is an ambitious leap into film infrastructure. What inspired you to venture beyond music, and how do you see this influencing African storytelling in the next 10 years?
Music opened our eyes to the power of African stories. We realised that Nigerian artists were creating cultural narratives that resonated globally through their music. Film was the natural extension of that realisation. The inspiration came from observing the fragmentation of our creative infrastructure. Musicians struggled to find quality video production, filmmakers couldn’t access proper post-production facilities, and everyone was working in silos. Pixel Ray was our answer to that fragmentation - a way to create convergence where our musicians become actors, our filmmakers create music videos, and our content crosses all traditional boundaries. In the next decade, I see African stories competing directly with Hollywood productions. These stories will offer something unique: authentic African perspectives with world-class technical execution. We’re positioning ourselves to be the backbone of that revolution. As global interest in African content grew, we anticipated the next wave would be content ownership across formats. That’s why we expanded into film, launched Chocolate City Media, and established Pixel Ray Studios. These were extensions of the same strategy: building platforms for African creativity, controlling IP, and driving value beyond music.
Intellectual property monetisation remains a challenge in Africa. From your experience, what practical steps should creative entrepreneurs take to protect and fully capitalise on their IP?
First, document everything. From the moment you create something, keep dated records. Register your works officially, even if the process seems bureaucratic. Second, understand your rights beyond just creation. Publishing, synchronisation, and performance rights are revenue streams that most African creators underutilise. We’ve helped our artists earn more from sync deals and licensing than from streaming in some cases. Third, think global from day one. Register your IP internationally, rather than just locally. African music is now international, so your protection needs to be global as well. Fourth, build relationships with collection societies and rights organisations. They exist to protect creators, but many artists fail to engage with them effectively. Most importantly, invest in legal counsel. It seems expensive for emerging artists, but the cost of protecting your IP appropriately is far lower than the cost of losing it. We’ve seen creators lose millions because they delayed investing in proper legal protection. The key is building systems that protect and monetise your creativity before you need them, rather than after success arrives.
Chocolate City’s recent MoUs with both the Plateau State Government and the Federal Government signal a bold move into infrastructure and talent development. How do you envision these partnerships reshaping Nigeria’s creative ecosystem, and what benchmarks will you use to measure their long-term success?
These partnerships represent a fundamental shift from private sector creativity to publicprivate collaboration. We’re creating a systematic approach to creative development that goes beyond individual success stories. The Plateau State partnership is particularly meaningful because that’s where Chocolate City began. Paul and I started organising raves on the University of Jos campus when we were undergraduates. Coming full circle to establish creative hubs in secondary cities like Jos, rather than just Lagos and Abuja, feels like completing the journey. The goal is to discover and develop talent where it naturally exists, rather than forcing everyone to migrate to major cities. In collaboration with the Federal Government, we’re developing policy frameworks that protect creators and generate sustainable revenue streams. This includes copyright enforcement, royalty collection systems, and international trade agreements that benefit Nigerian creators. We’re also working to provide infrastructure, such as stages, performance venues, and studios, in partnership with the private sector, to support the entire industry ecosystem. Our benchmarks are concrete: number of jobs created, revenue generated for artists, international deals facilitated, and IP revenue tracked. But the real measure of success will be whether Nigerian artists can build sustainable careers from Nigeria while serving global audiences. Long-term success means that in ten years, someone from Maiduguri can build an international creative career without ever leaving Nigeria. That’s the ecosystem we’re building for the entire creative economy.
PAUL OKEUGO
You’ve been at the heart of Chocolate City’s evolution from a record label to a 360-degree entertainment company. What was the turning point when you knew diversification was essential for survival and growth? Diversification was always the plan. We realised very early on that being just a record label was a limitation rather than a business model. We borrowed a lot from others before us, such as Richard Branson, who started with a label and then launched other verticals. Our markets are more suited to a one-stop shop model. Without this model, artists will request services that we cannot provide, such as brand partnerships, film opportunities, and international touring support. You cannot refer them to other companies for things you should have been handling in this kind of market. We anticipated that our industry would catch up with the West in an accelerated fashion, due to the way technology has changed the music industry; streaming has transformed traditional revenue models overnight. Artists and creatives need multiple revenue streams, and labels or agencies that couldn’t provide that became irrelevant. Part of our strategy was to avoid this by future-proofing our business against these changes, ensuring we always plan with the impact of innovation in mind. Our vision was for an entertainment business that could leverage various aspects of the creative industries in Africa. Although the music business became our flagship, it remains just one aspect of the “city” that makes up “Chocolate City”. That city will also try to capture value in film, design, and creative ideation in general. We aim to build structures in Africa that leverage all the creative opportunities available in our market. The diversification is about maximising the value of the market and the relationships we’ve built. We had these incredible artists and their trust, Incredible clients looking for a connection with the creative industry, and a market teeming with talent and opportunities in all aspects of creativity. The question became: how do we create the most value for them and for us? We created Chocolate City Media (Now Bean Creative), our integrated marketing communications agency, to focus on these areas. Similar to our creation of Replete Publishing, Pixel Ray, 5iveMusic, and CC pictures. All these verticals serve to diversify the group. Mine and Audus’ job is to keep these verticals under the same vision and value matrix that we use for all our endeavours. Bean Creative has since worked with major organisations, including the Federal Government, Huawei, Pernod Ricard, Pepsi, MTN, and the Mastercard Foundation, demonstrating that our understanding of culture and creativity can serve clients beyond the music industry.
At the recent Cannes Film Festival, you spearheaded Chocolate City’s partnership with the Federal Ministry of Culture, Tourism, and Creative Economy to transform the Nigerian Film Institute. What operational vision drove this initiative, and how will you measure its success?
The partnership emerged from a simple operational reality: Nigerian filmmakers have world-class creative talent but often lack access to world-class training and industry connections. We saw an opportunity to bridge that gap through strategic partnerships, rather than relying solely on individual company initiatives. Working with Minister Hannatu Musawa and her team, we designed a comprehensive framework to update, upskill, and upscale the Nigerian Film Institute. This involves curriculum development, international faculty exchanges, equipment upgrades, and direct industry placement programs. My role was to structure the operational framework that ensures the sustainability of this partnership. We created systems for ongoing collaboration with international streaming giants, established clear metrics for student success, built pathways for graduates to access industry opportunities immediately, and most importantly, ensured
continuity of that entire ecosystem so it doesn’t run down and become obsolete again. This is the power of the partnership. The operational vision is to create a pipeline that provides Nigerian filmmakers with training and tools that meet international standards and to upskill and ramp up even the unskilled labour and make Nigeria a more attractive destination for global film production, and not just a local market trying to export film and culture(which we are already doing quite well). Success will be measured through graduate placement rates in major productions, international collaborations secured, and the quality of content produced by institute alumni. We expect the process for students there to be practical and based on real films. We’re also tracking systemic change: Other African countries adopt similar models. International partners need to view Nigerian creative education as meeting global standards. When our graduates are competing for the same opportunities as film school graduates from anywhere in the world, we’ll know the system is working. And of course, better films mean better proceeds for our market as a whole.
The $1 million empowerment fund announced for the 20th anniversary is a bold commitment. What specific areas in the creative sector will this fund target, and how will beneficiaries be selected to ensure maximum impact? The Founders Fund Africa is our structured accelerator designed to empower the next generation of creative entrepreneurs. We’re focusing on early-stage startups in Nigeria’s creative sectors, offering financial support, mentorship, and strategic industry connections to help founders start, scale, and sustain their businesses. We see a lot of big funds around, but young people who started like us hardly have access to these funds because the barriers to entry are high. It was the same for us; sometimes you don’t need millions of dollars to start, you just need that little push. Our founders fund, in partnership with Argentil Capital and CC Hub, will provide that push. It is a small fund to start, but it will grow. We have partnered with Argentil because we wanted the best people managing the finance part of this, while CChub supports us on the incubator side. We’re targeting five key areas: gamification startups creating interactive entertainment experiences, payment platforms that help creators monetise their work, digital tools for content distribution and audience engagement, creative technology that merges AI with artistic expression, and businesses focused on talent management and artist development. This is about building the infrastructure for creative entrepreneurship. Many talented individuals have innovative ideas, but they often lack the business framework to turn them into sustainable ventures. Beneficiary selection prioritises scalable business models alongside creative talent. We want entrepreneurs who understand both the creative and commercial
sides of their ventures. We’re particularly committed to addressing gender imbalances in the creative industries and creating access for young people who have traditionally been excluded from the system. The application process will be rigorous but supportive. We will evaluate business plans, market potential, and the founder’s commitment to building something that lasts beyond initial success.
Two decades is a lifetime in entertainment. What values or operational principles have kept Chocolate City relevant in such a fast-changing industry?
The foundation has always been putting our artists first. Every major decision we make, we ask ourselves: “Does this serve our artists’ long-term interests?” That principle has guided us through industry changes, technology shifts, and market disruptions. We never tried to be American or European. From day one, we focused on being the best African entertainment company we could be. That authenticity has become our biggest competitive advantage. When everyone else was chasing international sounds, we doubled down on African excellence. There’s also been a deliberate focus on building long-term relationships rather than chasing short-term profits. We’ve turned down lucrative deals that would have compromised our artists’ futures. That approach has created loyalty and trust that competitors can’t replicate. The entertainment industry rewards those who can learn fast and adapt faster. We invest heavily in understanding new technologies, market trends, and cultural shifts. But we’ve always maintained our core principle: quality over quantity. We’d rather work with a smaller number of artists and deliver excellent work than spread ourselves too thin by trying to sign everyone. At its heart, Chocolate City is a family, not just a company. That culture has attracted the best talent and created lasting relationships that go beyond contracts.
While others talk strategy, you execute it. Looking ahead, what operational systems and infrastructure are you building that will fundamentally change how African creative businesses function?
We’re building integrated platforms that handle everything from talent discovery to global distribution. Most African creative companies still operate in silos: labels, publishers, distributors, and managers working separately. We’re creating unified systems where all these functions communicate seamlessly. The Founders Fund Africa is the testing ground for this approach. Instead of just funding startups, we’re building shared infrastructure they can all use: legal templates, international distribution networks, and business intelligence systems. When a creative startup joins our accelerator, they plug into 20 years of operational expertise. Our partnership with the Federal Ministry of Culture is about building national creative infrastructure. We’re working on standardised contracts, unified royalty collection, and international trade frameworks that every Nigerian creative business can use. Think of it as creating the operating system for the entire creative economy. The partnerships we signed at Cannes are part of a larger operational vision: creating direct pathways for African content to reach global audiences without losing value to intermediaries. We’re building the infrastructure, not just the content. My benchmarks are operational rather than just financial. Success means Nigerian creative businesses can scale internationally without having to rebuild their basic infrastructure. It means an artist in Kano can access the same quality of contracts and distribution as someone in Lagos. It means creative entrepreneurs can focus on creativity while the business infrastructure runs automatically. The real benchmark: when other African countries start adopting our systems and frameworks. When Ghana, Kenya, and South Africa look to Nigerian creative infrastructure as the model, that’s when we’ll know we’ve succeeded.
ADA OBIAJUNWA
@aaddaahh
FRIENDSHIP IN YOUR 40S
Fewer People, Better Wine
In my twenties, friendship was a fullblown carnival.
Noise. Movement. BBM broadcasts. If your birthday didn’t look like a Nollywood wedding, were you even relevant?
I collected friends like Ankara — plenty, loud, and sometimes itchy.
We posed, we partied, we promised forever. But forever, it turns out, has a short shelf life once rent, heartbreak, and adulting enter the chat.
Then came my thirties — the decade of edits. Some friends relocated. Some got married. Some got weird.
And some just disappeared, like socks in a washing machine.
By my forties? The carnival had packed up.
I wasn’t in the “collect friends” era anymore.
I was in the “please don’t talk to me unless you bring peace, laughter, or decent snacks” era.
The friends who stayed? They’re my luxury silk. They don’t shrink. They don’t fade.
They make me feel like my best self.
This year’s birthday was supposed to be quiet. Maybe a solo dinner. Maybe Netflix and moisturiser.
But Jennie — my new chaos agent turned luxury silk — had other plans.
“Ada,” she said, “forget this hermit life. You’re coming out. Stop hiding in your house, inhaling WhiffWonders like incense.”
She kept calling, not because I was sulking (my home is my sanctuary), but because she refused to let me be alone.
These strangers, off-key and grinning, made me feel seen. They did a good job too — loud, joyful, unfiltered Lagos energy.
As if that wasn’t enough, the moment I walked inside, Jennie started announcing to everyone that it was my birthday in less than 45 minutes.
At first, I wanted to disappear. Why was she telling strangers?
But by midnight, those strangers became sisters. They sang, they hugged, they clinked glasses.
It was chaotic joy — and I loved it.
The next day, she dragged me out again — this time to a party for one alumna’s mum. obliged her because Jennie always shows up for me, and I didn’t want to disappoint her.
Meanwhile, my other luxury silk started showing up too.
Funmi, with her steady love.
Oseyemi with iya Jesu rice and turkey. Pepper soup arrived like a birthday gift from the gods.
And of course, my guy friends — a lot more guys than ladies
And true to form, she got me there before midnight.
At the entrance? Chaos.
Jennie had gathered a handful — or maybe more than a few — area boys, told them it was my birthday, and insisted they sing and dance for me.
— rolled in saying, “Haba Ada, na lie, we dey show. It’s ya birthday!”
We ate. We laughed. We argued about Nigeria like we had the power to fix it by dessert.
My house smelled like WhiffWonders — Obi clashing with Sugha, The Eden Wedding wrestling with G5. But together? Pure luxury.
One friend inhaled deeply and said, “Ada, this house is too suspiciously peaceful. Now I can’t go back to normal air.”
The last guest left at 2:30 a.m. And for the first time in years, I was still awake… still smiling.
That’s the difference now.
In my twenties, I judged birthdays by how many cakes I got.
Five cakes meant you were loved — until you realised no one ever finishes red velvet, and now you’re hustling to dash cake like it’s election season.
In my forties, I judge birthdays by how warm the room feels after the laughter dies down.
No balloons. No overpriced cakes. Just presence.
Here’s the plot twist no one tells you: in your forties, you don’t just keep old friends — you attract new ones.
But this time, they come aligned. Emotionally intelligent. No performance. Just vibes, jollof, and loyalty.
So yes, I still love wine.
But these days? Friendship tastes like pepper soup at 2 a.m., laughter echoing off walls that smell like WhiffWonders, Kenny G playing faintly in the background, and the peace of knowing the people around me didn’t come for the photo op — they came for me.
Because in your forties, friendship isn’t loud. It’s the quiet that feels like home. And baby, that quiet? Golden.
5 TIPS FOR MEN STARTING A SKINCARE ROUTINE
BY DORCAS AKINTOYE
Gone are the days when skincare was seen as something only women cared about. Today, more men are beginning to understand that taking care of their skin isn’t vanity, it’s self-care.
Whether you’re trying to handle acne, razor bumps, dryness, or you just want to look and feel your best, a simple skincare routine can make a world of difference. The good part is that you don’t need a drawer full of products or complicated steps to start seeing results. In this article, we will show you five practical tips that will help you build a routine you can actually stick to.
UNDERSTAND YOUR SKIN TYPE
Before you buy any product, you need to know your skin type. Skincare isn’t “one size fits all,” and understanding your skin will help you choose products that work best for you. For example, oily skin tends to look shiny, especially around the forehead, nose, and chin, while dry skin often feels rough, tight, or flaky. Combination skin is oily in some areas but dry in others, while sensitive skin gets easily irritated or reacts badly to new products. By knowing your skin type, you can avoid products that may worsen your skin problems and instead pick ones that will actually help improve your skin’s condition.
BASICS
Consistency is where the magic happens in skincare. You won’t see results overnight, so don’t get discouraged if your skin doesn’t transform after a few days. The real improvements happen when you stick to your routine daily. Think of it like brushing your teeth; the more consistent you are, the better your skin will look and feel over time. Within a few weeks, you’ll notice your skin looking fresher, clearer, and healthier, and that will motivate you to keep going. START WITH THE
When building your first routine, keep things simple. You don’t need a complicated 10-step regimen to get healthy, glowing skin. Start with the three essentials: a cleanser to wash away dirt, sweat, and excess oil; a moisturiser to keep your skin hydrated and balanced; and a sunscreen to protect your skin from the harmful rays of the sun. These three products form the foundation of any good skincare routine. Once you’re comfortable and consistent with these basics, you can gradually add extra steps, like serums for specific issues or exfoliators to remove dead skin cells. But in the beginning, simplicity is key.
If there’s one product you should never leave out of your routine, it’s sunscreen. The sun’s UV rays are one of the biggest culprits behind wrinkles, dark spots, sunburns, and even skin cancer. Even on cloudy days or when you’re mostly indoors near windows, UV rays can still reach your skin and cause damage. Applying a broad-spectrum sunscreen with SPF 30 or higher every morning is the simplest way to protect your skin and keep it looking youthful for years to come. Think of sunscreen as your best defence against ageing and skin problems.
One of the most common mistakes men make with skincare is being too rough. Harsh scrubs, strong soaps, and vigorous scrubbing may feel like they’re “cleaning” the skin, but they actually do more harm than good by damaging your skin barrier. Instead, choose gentle, alcohol-free cleansers and moisturisers, and treat your skin with care. Avoid using bar soaps meant for the body on your face, and don’t exfoliate too often; once or twice a week is enough. Your skin will respond better to a kind, gentle approach, and over time, you’ll see healthier, calmer skin.
Starting a skincare routine doesn’t have to be overwhelming. By understanding your skin type, sticking to the basics, being consistent, protecting your skin from the sun, and keeping things gentle, you’ll be on your way to healthier, clearer skin in no time. Remember, skincare isn’t just about looking good; it’s also about feeling good.
EASY WAYS REMOTE WORKERS CAN STAY ACTIVE DURING THE DAY
BY JOHNSON CHUKWUEKE
The remote work lifestyle has been one of the biggest shake-ups of our generation. Gone are the days when productivity was tied to traffic jams, office cubicles, and hurried lunch breaks. Now, your office might be the dining table, the sofa, or even a cosy corner in your bedroom. It’s flexible, convenient, and—let’s be honest—sometimes a little too comfortable. But with that comfort comes an overlooked danger: stillness. Sitting for hours on end, staring at screens, and barely moving from your spot is slowly becoming the silent health hazard of modern work. Backaches, stiff necks, drained energy, and sluggish creativity are all tell-tale signs. The good news? You don’t need a fancy gym or marathon training schedule to beat it. Staying active as a remote worker is about weaving small, intentional movements into your day, making fitness a lifestyle rather than an event. Here’s how you can move more, sit less, and keep both body and mind thriving.
Upgrade Your Setup
Your workspace can either keep you stuck in a chair or inspire you to move. Standing desks are a game-changer for remote workers, allowing you to alternate between sitting and standing. Can’t afford one yet? No worries— stack some sturdy books or use your kitchen counter as a makeshift standing desk. Pair that with good ergonomic seating, and you’ve got a setup that keeps your posture—and productivity—in check.
Stretch It Out
Think of stretching as your body’s reset button. After an hour of sitting, muscles tighten, joints stiffen, and blood flow slows. Taking just three to five minutes every hour to stand up, stretch your arms overhead, twist your torso, or bend forward can undo that damage. Even better, try setting reminders on your phone or laptop so you don’t forget. A simple stretching routine can help keep your energy high and your posture sharp.
Walk Your Calls
Meetings don’t always have to mean sitting in one place. If you’re on a phone call that doesn’t require staring at the screen, turn it into a walking session. Pacing around your living room, strolling down the hallway, or even stepping outside for a quick walk can help you rack up steps without feeling like you’re exercising. It’s movement built right into your workflow.
Deskercise Daily
You don’t need a yoga mat or dumbbells to keep moving. Desk-friendly workouts like seated leg lifts, calf raises, or chair dips are great for keeping muscles engaged while you work. They’re subtle enough not to disrupt your focus but effective enough to fight stiffness. Imagine smashing through an email draft while squeezing in 20 calf raises—multitasking never looked this good.
Make Movement Fun
Movement doesn’t have to feel like a chore. Play your favourite Afrobeats playlist during lunch and dance for ten minutes. Use chores like sweeping or laundry as mini cardio sessions. Even taking breaks to stretch when the electricity goes out can turn an inconvenience into a wellness opportunity. The trick is making the activity enjoyable so it feels like a reward, not a task.
Remote work is here to stay, but so is the need to move. Staying active doesn’t have to mean squeezing in hour-long gym sessions or chasing a strict routine. By stretching often, sneaking in deskercises, walking through calls, rethinking your workspace, and keeping movement fun, you can protect your health without disrupting your hustle. In the end, it’s not just about working from home—it’s about thriving from home.
TECHTALK
TECHNOLOGY FOR BETTER REST AND RECOVERY
BY JOHNSON CHUKWUEKE
We count steps, monitor heart rates, and track screen time like our lives depend on it, but when it comes to sleep, many of us are still winging it. Ironically, it’s the one thing our bodies literally can’t function without. Whether you’re a CEO, content creator, or campus hustler, sleep is that underrated key to better focus, mood, memory, and overall health.
The good news? Sleep technology is booming. No more tossing and turning or relying on boring routines. From smart mattresses to AI-powered sleep apps, technology is stepping up to help us snooze smarter, not harder. If you’re ready to stop treating sleep like an afterthought and start treating it like the life upgrade it is, keep reading.
Sleep Trackers
Devices like the Oura Ring, Apple Watch, or Fitbit don’t just count how long you sleep; they analyse the quality, showing your REM, deep, and light sleep cycles. You’ll know if those late-night Netflix binges are costing you real rest.
Sleep Apps: Nighttime’s New MVP
Apps like Calm, Headspace, and Sleep Cycle turn your phone into a bedtime buddy. With meditations, nature sounds, and sleep coaching, they help your brain wind down after chaotic days and endless scrolling.
Blue Blockers:Light Your Eyes Will Thank You
Smart Mattresses And Pillows: Built For Better Sleep Smarter Wake-Ups: Rise Without the Rude Shock
Imagine a bed that adjusts to your body temperature or a pillow that tracks snoring. Brands like Eight Sleep and Moona offer just that, high-tech sleep support that works while you’re dreaming.
That 2 a.m. Instagram scroll? Not great for your melatonin. Tools like blue light glasses, screen filters, and phone settings like Night Shift reduce blue light exposure and help your body recognise it’s bedtime.
Tired of being yanked out of sleep by an alarm that sounds like a fire drill? Sunrise alarm clocks (like the Hatch Restore) simulate gentle dawn light, waking you up naturally and calmly, no cortisol spike required.
Balancing career growth with family life isn’t about achieving a perfect 50-50 split — it’s about creating harmony between your ambitions and your relationships. By setting boundaries, prioritising what matters most, embracing flexibility, sharing responsibilities, and making time for yourself, you can thrive at work and at home without losing your sanity. After all, the ultimate success is not just in titles and promotions, but in the life you enjoy while earning them.
cassy’s chronicles MY STORY WITH MAYOWA
Inever thought my body count should matter to anyone. I’ve had fun, I’ve had sex, I’ve lived. Every time I lay with a man, it was because I wanted to, not because I was desperate or being used. I wasn’t reckless either; I just didn’t think I owed anyone an explanation for the choices I made with my own body. That was until I met Mayowa.
From the beginning, he felt different. Gentle, attentive, the kind of man who listened with his whole body, like every word I spoke mattered. He smelled like promise, like the type of man I could finally let myself fall for. With him, I thought maybe the chase was over. Maybe this
had the right to know.
And then I snapped.
“Oh, are you sure this is about me, or is it about you?” I shot back, my voice trembling with anger. His eyes narrowed. “What’s that supposed to mean?”
“It means you’re projecting, Mayowa. You’ve been with half of Lagos. You’ve slept with women who had boyfriends, even serious girlfriends, and now you think every woman is like you. You don’t trust because you know the rubbish you’ve done.”
His jaw tightened, his nostrils flaring. “Don’t turn
he barked. “I’ve changed. I don’t do those things anymore.”
“Then why does it matter so much to you what I’ve done?” I fired back. “If you’ve changed, why can’t you believe that a woman can make her own choices without being labelled unworthy?”
We were both breathing hard now, words ricocheting between us like bullets.
He rubbed his hand over his head, frustrated. “You don’t get it. I’ve seen things. I know how women can be...”
“No, Mayowa. You know how you can be. Don’t paint me with your brush.” My voice cracked, but
BY BOLUWATIFE ADESINA
MOVIE REVIEW:
The Long Walk
Director Francis Lawrence is no stranger to helming dystopian films that drop teens into lethal competitions broadcast for a live audience, having multiple Hunger Games features under his belt. It makes him wellsuited to capturing the bleak pessimism and bruising brutality of the source material, Stephen King’s The Long Walk, published under the pen name Richard Bachman in 1979 and adapted for screen by writer JT Mollner.
Despite an unwavering eye on the dour and ruthless death march and all its grotesqueries, it’s the pervading camaraderie and heart, as well as a tremendous cast, that solidifies this as one of the best King adaptations yet.
The Long Walk refers to the annual competition that sees fifty young men, each selected by lottery to represent their state, walk until they drop. The last one standing receives a wish granted and a lifechanging amount of money, the very thing that incentivises the youth to voluntarily enter the lotto in the first place, amidst an economically challenged and oppressively controlled post-war regime. That the contest comes with high stakes speaks volumes; contestants who fail to maintain a strict pace (4mph or 6.4Km/h… try that on your treadmill and see how intense that pace is) or break any of the competition’s rules are ruthlessly shot by its military enforcers, presided over by the Long Walk’s creator, “The Major” (Mark Hamill).
Muted colours and drab scenery only enhance the dystopian feel as the walkers set out on nondescript stretches of pavement across rural America, flanked by tanks. Lawrence’s stripped-down approach is less interested in where the walkers are going or the competition’s audience, but rather the boys’ emotional, mental, and physical state as they’re forced further along their gruelling march for survival, rethinking their choices and humanity in the process. It’s a film that rests squarely on the shoulders of its characters to convey the depth of horror and the emerging triumph of the human spirit. Lawrence
keeps his camera’s gaze focused mostly on close-ups of its core players, whether capturing their intimate conversations, deteriorating bodies, or the unflinching grimness of their demise. And the deaths are as shocking as they are brutal.
It’s a dialogue-heavy, character-driven movie, one that threatens violence at every turn and anchored by a talented cast that all but guarantees no eyes will remain dry by film’s end. It’s the rich characterisations and affecting performances that prevent the simple concept and bland scenery from veering into tedious territory. At the forefront are two rising star performances by Cooper Hoffman (son of late actor Philip Seymour Hoffman) and Alien: Romulus breakout David Jonsson, as instant friends and lead protagonists Ray Garraty and Peter McVries. The pair becomes the beating heart of this grim story, carrying each other through the hardest stretches and challenging each other’s philosophies as things continue to get worse. Yet it’s Jonsson’s unflappable cheer as a sage champion of hope, despite a lifetime of disappointment and pain, that threatens to steal the entire film and your heart in the process.
Rounding out the prominent walkers are pessimistic Collie (Joshua Odjick), the caring Arthur (Tut Nyuot), wisecracking motormouth Hank (Ben Wang), no-nonsense Stebbins (Garrett Wareing), and antagonistic outcast Barkovitch (Charlie Plummer), each complicating the contest through genuine bonds or potentially deadly conflicts. The longer the death march wears on and the more their numbers shrink, the more the young men learn the value of human life to a tragic degree. It’s not just the cast’s portrayal that ensures emotional impact; Mollner makes smart deviations from King’s novel that further emphasise the developing connections and the profound need for human connection if any of us are to survive this unforgiving world and its ugliest impulses.
The Long Walk hurts. Even the characters we barely see or interact with instil pangs of sorrow and heartbreak, each succumbing to horrific fates that snuff out youthful dreams far too early. But Lawrence and Mollner refuse to let the darkness completely snuff out hope, reflected largely through a powerful and deeply moving depiction of friendship. It’s that affecting defiance in the face of a cruel enemy that carries The Long Walk through its most desolate and painful stretches, and what ensures this timely adaptation lingers with you long after its gruelling marathon has reached its finish.
Rating: 8/10
Can’t go wrong with some Stephen King.
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PEACEMAKER SEASON 2, EPISODES 4-6
In a summer that hasn’t been kind to comic book movies, James Gunn’s Superman managed to recharge DC’s floundering cinematic universe (DCU) with strong reviews and almost $600 million in box office receipts – and Peacemaker season 2 keeps that party going.
Originating in Gunn’s underrated The Suicide Squad (2021), John Cena’s antihero and his supporting cast are among a select group of characters retained from the earlier continuity, which sputtered out across a series of consecutive flops released in 2023.
But rather than explain their return by obsessing over multiverse logistics (as the Marvel Cinematic Universe has regrettably spent the last four years doing), Peacemaker hand-waves into this bold new era in a matter of minutes.
A quick appearance from Nathan Fillion’s Guy Gardner and Isabela Merced’s Hawkgirl is all that’s needed to embed this season in the world of Superman, leaving the intricacies of the new DCU canon to be ironed out at a later date. Frankly, it’s not important for this story.
We reunite with Chris Smith (aka Peacemaker) several months after the events of the first season, which saw his team thwart an invasion of bodysnatching aliens, who might well have been the ‘good guys’ depending on your point of view.
Things are at a low ebb, with former team leader Emilia Harcourt (Jennifer Holland) blacklisted from the intelligence community, while associates Leota Adebayo (Danielle Brooks) and John Economos (Steve Agee) aren’t faring much better –respectively fronting an ill-judged start-up, and handling a tedious assignment.
Chris is firmly in the crosshairs of incoming ARGUS boss Rick Flag Sr (Frank Grillo), who knows that the brute killed his son not long ago and correctly suspects that he’s hiding a dangerous interdimensional portal in his late father’s home.
It’s inside this pocket universe that Peacemaker bumps into a version of himself from a reality where things are working out a lot better – but don’t be alarmed! This isn’t an exercise in mind-numbing franchise maintenance, but the catalyst for a fascinating exploration of this surprisingly compelling character.
Gunn cannily flips the script on multiverse stories, which have recently become little more than stale and
uninspired vehicles for celebrity cameos, by returning to what made them so tantalising in the first place.
Of course, it’s the existential profundity of seeing an individual teased with a version of their life that they’ve always wondered about – where certain key decisions and events played out differently – which then forces them to reckon with the world they’ve built instead.
Viewed through this prism, it’s actually a weighty concept with deep potential in speculative fiction, which is partly why it’s so frustrating to see it trivially overused in the manner that has characterised recent forays in film and television.
Against this disheartening backdrop, the most surprising thing about Peacemaker season 2 is how emotionally affecting it is. Sure, the crude dialogue and eccentric humour remains, but there are moments in these episodes that carry real pathos in spite of the absurdity – Gunn’s speciality since Guardians of the Galaxy
Indeed, that a brute in a daft silver helmet could be anywhere near this nuanced is a testament to his knack for finding vulnerability in characters that initially seem one-note, but Cena, too, deserves credit for giving his all to this role in both its lighter and darker moments.
That’s not to say that Chris Smith gets off scot-free; this spin-off certainly hasn’t forgotten his wicked behaviour in The Suicide Squad, nor the life-long history of violence that landed him in Task Force X, and he’ll be forced
to confront that ugliness before the season’s end.
His doting best friend, Adrian Chase aka Vigilante (Freddie Stroma), is another good example of this moral tightrope; objectively, he’s a violent and disturbed person, but the earnest adoration he holds for the group and his child-like enthusiasm for the most mundane things make it tough not to empathise with him.
Holland is dealt a more serious arc as the spiralling Harcourt, who succumbs to darker tendencies when she finds herself backed into a corner. Alas, it’s a direction that does lead to some clichéd moments – not least, the pep talk where she’s affectionately referred to as a “trainwreck”, which just feels very 2015.
Adebayo continues to be the glue that holds everyone together, providing emotional support to each member of the team as the most grounded and emotionally intelligent. However, it’s a role that somewhat diminishes her own arc, which, after five episodes, is limited to a throwaway start-up and a boring break-up. Brooks certainly deserves better.
Admittedly, there are a few instances when things get a bit too surreal for their own good. I, for one, could live with a bit less Eagly (Peacemaker’s pet bald eagle), whose lore is expanded upon with the addition of a culturally appropriating bird hunter, played with admirable commitment by Gunn favourite Michael Rooker.
But even accounting for its imperfections, it’s tough not to like Peacemaker. From the opening dance number onwards, it’s an enormous amount of fun that carefully balances its surreal pleasures with impactful characterled moments – and plenty of unexpected twists.
Beautiful (Remix)
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