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Nollywood, the umbrella term for the Nigerian film industry, produces thousands of movies yearly across incredible genres and sub-genres. Since inception, we have had talents whose projects make us, the audience, question and address societal issues, such as Taiwo Egunjobi. Taiwo Egunjobi is a talented writer and filmmaker whose filmography questions social and systemic issues.

Growing up, film became a part of who Taiwo Egunjobi is today: “I grew up in a family, uh, where films were watched as a family practice. You, you would sit down to watch films.” You see, Taiwo Egunjobi’s father was a well-travelled professor who had a hobby of collecting movies around the world; his family would sit to watch classics like ‘The Sound of Music (1965)’, ‘Doctor Zhivago (1965)’, ‘Sarafina (1992)’, and ‘Police Academy (1984)’. “I learned later that he used to run a cinema, you know. He co-owned a cinema in, some time of his life with a Friend…and that was in combination with my mom, who used to watch a lot of Nigerian films.” 

Growing up in such an incredible household, Taiwo Egunjobi would later go on to study psychology at the University of Ibadan; this would help give him “ a larger appreciation of human behaviour and how it is shaped and what shapes it, how nature and nurture affect us…how…we can study human behaviour and measure it”. Drawn to film and cinema, his understanding of psychology helps him understand characters and people, which later proved invaluable to his creative pursuits.

Taiwo Egunjobi also grew up with legendary filmmakers like Tunde Kelani, Tade Ogidan, and Femi Odugbemi, whom he also studied and who have inspired his work. He has also studied global names like Asghar Farhadi, [Quentin] Tarantino, [Martin] Scorsese, [Francis Ford] Coppola, [Yasujirō] Ozu, [Abbas] Kiarostami, and [Andrei] Tarkovsky: “…I studied all these guys. And what I was learning was that… I had particular visual interests and ultimately had some thematic things that resonated with me, and I wanted my films to do those things. And so I started making films.”

Since working on his 2013 30-minute short film ‘Blades of Ennui’ to ‘All Na Vibes (2021)’, “I finally understood what I wanted my films to be about. I knew at that point in time that I couldn’t make a film that wasn’t going to be a commentary or shine a torch on my society and behaviour. It just wasn’t possible.”

Taiwo Egunjobi questions everything, from people to society, race to government, philosophy to purpose, and responsibility to cultural preservation: “I question things people say. I question what people say are the reasons for why we are where we are. And that has led me to make the films I make.”

Speaking on whether Nigerian films have done enough to address stolen cultural heritage, “I don’t think Nigerian film has done a lot to address cultural theft. I don’t think this topic represents a dominant thematic occupation of Nigeria. Of course, there have been films around it. I wouldn’t say I’m the only filmmaker who has attempted it, but yes, it’s not an occupation for most people because I don’t imagine it’s an interesting topic for many filmmakers want to be about. The people I watch and people I follow, the people that trained me, make films about things of this nature, in documentary, in essays and in films.”

Taiwo Egunjobi told Streamdorm, “Fire and the Moth was not supposed to be… I didn’t intend it to be an essay of any type. I just wanted to make a film that would be exciting, would be serious, and will be, uh, artistically sound and thematically resonant, you know. And I wanted to make that film. I had, for the longest period, been thinking about cultural preservation and artifacts. I’d also been very fascinated with the neo-Western film genre… And again, I was also being inspired by the stories of smugglers and all of those things. Not inspired, but interested. And, you know, a time comes when you are talking with your co-writer, with Isaac Ayodeji, and these ideas begin to form together.”

Taiwo Egunjobi revealed to us that there was a discussion alongside film producer Olakunle Martini Akande to make a short film with the same plot: “We’ve always had these ideas speculating. And I think for me, the interesting part of it was, uh, we wanted not to just talk about how our cultural artifacts were taken, but also about local complicity and how our complicity, whether active or inactive, is part of the narrative and it’s something we should be thinking about and talking about.”

Taiwo Egunjobi told Streamdorm that his long-awaited documentary is ready and was supposed to be released this year, but “I still have no information about when it’s going to be released”. Also, his four-part crime drama series, Bodija, is set to release this December.

Pope Leo XIV has been discharged from Rome’s Agostino Gemelli University Hospital and returned to the Vatican, four days after undergoing surgery to remove a cancerous portion of his right lung.

The 71-year-old pontiff left the hospital on Saturday, October 17, 2026, walking unaided and greeting well-wishers who had gathered outside the facility. Smiling and waving to the crowd, he briefly responded to those nearby, saying, “I am better, thank you,” before leaving in a black vehicle.

According to his medical team, morning blood tests, a chest X-ray and clinical evaluations indicated that he was well enough to continue his recovery outside the hospital. His discharge came earlier than initially anticipated, as doctors had expected his hospital stay to last approximately one week.

Following his return to the Vatican, Pope Leo XIV is expected to resume a key public responsibility on Sunday, October 18, by leading the traditional Angelus prayer and delivering a blessing from the window of the Apostolic Palace overlooking St. Peter’s Square.

The Vatican had previously cancelled his public audiences through October 20 to allow time for recovery. His planned appearance would mark an early return to public duties following the operation, although his medical team will continue to monitor his condition.

Pope Leo XIV Diagnosed With Lung Cancer After Surgery to Remove Part of His Right Lung

The Pope was admitted to Gemelli Hospital on October 13 after medical examinations identified a small, localised nodule in his right lung. He had previously disclosed the finding to pilgrims in St. Peter’s Square on October 11, describing it as having been detected at an early stage.

Surgeons subsequently performed a video assisted thoracoscopic procedure to remove the affected tissue. The operation involved removing the lower lobe of his right lung, with an examination during surgery confirming pulmonary adenocarcinoma, a common form of lung cancer.

The procedure was reported to have been successful, with no complications. Following surgery, Leo began respiratory physiotherapy, resumed eating normally and gradually increased his physical activity while continuing some work from his hospital room.

Although his early recovery has been encouraging, further details about the cancer’s staging and whether additional treatment will be necessary have not been fully disclosed.

The Vatican is also preparing for the pontiff’s planned trip to Latin America in November, which is expected to include Peru, where he spent years serving as a missionary. Whether the trip proceeds as scheduled may depend on his recovery in the coming weeks.

For emerging artists navigating the music industry, deciding whether to sign with a record label or build a career independently remains an important consideration. While a record deal can provide access to funding, distribution, promotion and industry connections, independence offers artists greater control over their music and career decisions.

But is signing with a record label the fastest route to success, or can artists achieve more by remaining independent?

Nigerian artists Kizzie, Blade Escobar and Olamiplenty BMT share their perspectives on record deals, artist independence and the conditions that could influence their decisions.

Kizzie: A Record Label must Offer More than Independence already Provides

For Kizzie, signing with a record label is not out of the question. However, he believes the decision should depend on what the label can bring to the table.

“Nothing is wrong with record labels, provided what they’re offering is something I’m not already doing for myself,” he explained.

When asked whether artists signed to record labels could rise faster than their independent counterparts, Kizzie agreed to an extent, pointing to the importance of having the right label behind an artist.

“I will agree to an extent. With a proper label that understands your vision and invests in your growth, you can rise faster. But independence can work too with the right strategy,” he said.

His position highlights the importance of finding a label that understands an artist’s creative direction and is willing to invest in their development, rather than signing a deal simply for the sake of being signed.

Kizzie also stressed that artists need support to succeed, regardless of their career structure.

“You can’t do it alone. You will always need somebody,” he added, emphasising the importance of having people who can contribute to an artist’s growth.

Stream Kizzie’s latest EP on your Music platform

Blade Escobar: Promotion and Distribution over a Traditional Record Deal

Blade Escobar is also open to working with a record label, but he is particularly concerned about the terms of any potential agreement.

“I’m open to it as long as the deal isn’t a 360 or a slavery deal,” he said.

Rather than pursuing a conventional record deal, Blade Escobar explained that he would prefer a promotion and distribution arrangement that allows him to finance his own music while partnering with investors who can help take it to a wider audience.

“I’d ideally prefer a promotion/distribution deal though. I make the music with my own money, investors distribute my music and promote it worldwide and we agree on royalty splits,” he explained.

His preferred arrangement reflects an approach in which an artist retains responsibility for financing their music while seeking external support for distribution and promotion. In exchange, the parties agree on how the resulting royalties will be shared.

Blade Escobar’s perspective suggests that working with industry partners does not necessarily have to mean surrendering control of an artist’s career. For him, the priority is finding a business arrangement that supports his ambitions without requiring him to accept terms he considers unfavourable.

Listen to Blade Escobar’s new EP “Hits Only, No Mrs” on your Music platform

Olamiplenty BMT: Independence can be More Rewarding

Olamiplenty BMT takes a more cautious position on record deals, arguing that the decision ultimately depends on the label and the terms being offered.

“It’s depends on the record label and the deal,” he said.

He believes independence can be more rewarding for artists who have the resources and skills to manage the key aspects of their careers, including music production, distribution and promotion.

“Being an independent artist is actually more rewarding when you have what it takes in terms of music production, distribution, and promotion,” he explained.

Although he acknowledges the appeal of signing with a record label, Olamiplenty BMT warns that artists should consider the potential disadvantages before committing to a deal.

“While being signed to a record label may seem exciting, it has its dark side. Most times, the deals favor the label more than the artist, and you may lose a lot of personal freedom,” he said.

He also questioned whether signing with a well-known label necessarily guarantees long term success, noting that some artists who secured deals with established labels have since faded from public attention.

As a result, he recommends that artists remain independent when they have the capacity to manage the process themselves.

“As an artist, I strongly recommend staying independent if you can handle the process,” he added.

His position underscores the importance of understanding what a record deal offers, what an artist may have to give up, and whether the benefits justify the commitment.

Listen to Olamiplenty BMT on Audiomack

The perspectives shared by Kizzie, Blade Escobar and Olamiplenty BMT point to a common consideration: signing with a record label should be a strategic decision rather than an achievement in itself.

For artists who lack the resources to fund their music, reach new audiences or build a strong promotional network, the right label could provide opportunities that might otherwise take years to establish independently. A label that invests in an artist’s development and understands their creative vision can offer meaningful support.

However, a record deal is not automatically the best option for every artist. Those who already have the resources, industry connections and strategy to manage their careers may prefer the control that independence provides. Others may seek specific partnerships for distribution, marketing or promotion without committing to a broader arrangement.

The terms of an agreement also matter. Artists need to understand how royalties will be divided, who owns or controls their recordings, what rights they are granting, how long the agreement lasts and what obligations each party must fulfil.

Ultimately, neither independence nor signing with a label guarantees success. The outcome depends on an artist’s circumstances, the strength of their team, the quality of their music, their business decisions and their ability to connect with an audience.

For Kizzie, the right record label is one that offers value beyond what an artist can achieve independently. Blade Escobar would prefer a promotion and distribution partnership with agreed royalty splits, while Olamiplenty BMT believes independence can be more rewarding for artists capable of managing their own careers.

Their perspectives differ in emphasis, but they share an important consideration: artists should understand what they are getting into before committing to a record deal.

In an industry where visibility, investment and ownership can shape a career, the question may not simply be whether an artist should sign with a record label or remain independent. It is whether the arrangement they choose gives them the best opportunity to grow while protecting their long-term interests.

Follow Streamdorm for more of these insightful publications about the entertainment industry set to be rolled out feature by feature.

Grammy-winning Nigerian superstar Burna Boy has met with U.S. Consul General Brandon Hudspeth at the U.S. Consulate General in Lagos to discuss opportunities for deeper collaboration between the American and Nigerian creative industries.

The meeting focused on translating the cultural ties between both countries into economic opportunities through stronger commercial partnerships, investment and industry development.

Key areas explored included business relationships among American and Nigerian recording studios, record labels and streaming platforms, alongside improved intellectual property protection, artist and industry exchanges, and investment in creative infrastructure.

The discussions highlight the growing importance of Nigeria’s entertainment industry in international cultural and commercial relations, particularly as Afrobeats continues to connect Nigerian artists with audiences and businesses across global markets.

Burna Boy meets U.S. Consul General Brandon Hudspeth in Lagos to discuss expanding U.S./Nigeria Creative Industry Collaboration 🇺🇸🇳🇬 pic.twitter.com/j0BkDWHAba

— Music on Streamdorm 🎧 (@Streamdorm) October 16, 2026

Stronger partnerships between both countries could create new opportunities for artists, music executives and other creative professionals while supporting the growth of the wider entertainment industry.

Brandon Hudspeth is the U.S. Consul General in Lagos, representing the United States in southern Nigeria. His role includes strengthening diplomatic, economic and cultural relations between both countries. His meeting with Burna Boy reflects efforts to explore opportunities for collaboration between the American and Nigerian creative industries, with a focus on trade, investment and economic growth.

Burna Boy, Aliko Dangote, Ngozi Okonjo-Iweala and 12 Others Named on Forbes Africa Icons 2026 List

The Nigerian filmmaker speaks to Streamdorm about her journey from the EbonyLife Creative Academy to feature filmmaking, the experiences that inspire her storytelling, and the questions she hopes audiences will confront through her Film Africa 2026 selection.

For Nigerian filmmaker Chinazaekpere Chukwu, storytelling begins with an interest in the ordinary experiences that shape people’s lives. From the choices they make to the things they desire and the sacrifices they are expected to endure, she finds meaning in the everyday realities that often go unquestioned.

That perspective informs Her Daughters’ Mother, also known by its original-language title, Oni ómó-Emeté, her feature directorial debut. The Nigerian drama follows Ejiro, a woman whose life is shaped by marriage, motherhood and societal expectations, particularly the pressure to produce a male heir.

Married off at 16, Ejiro returns home in her thirties as a widow with two daughters. Her subsequent marriage to Osato, which promises a more secure future, becomes another source of suffering when she fails to provide him with a son. Through Ejiro’s experiences, the film examines women’s autonomy and the personal cost of living according to expectations imposed by others.

For Chinazaekpere Chukwu, however, the story is not simply about the circumstances Ejiro faces. It also raises a more fundamental question about the freedom women have to make decisions about their own lives.

Selected for Film Africa 2026 in London, Her Daughters’ Mother marks a significant milestone in her career, bringing a story rooted in the cultural realities of Nigeria’s South-South region to an international audience.

Chinazaekpere Chukwu’s Feature Debut “Her Daughters’ Mother” Set to Screen at Film Africa 2026

In this conversation with Streamdorm, the filmmaker reflects on the experiences that have shaped her creative journey, the questions at the heart of her debut feature, and what she hopes audiences will take away from Ejiro’s story.

Streamdorm: Looking back at your journey from writing and directing for television and short films to making your first feature, what part of that journey forced you to confront yourself the most, and how has it changed the filmmaker you are today?

Chinazaekpere Chukwu: When I came out of EbonyLife Creative Academy in 2021, I wasn’t entirely sure what kind of artist I wanted to be. I only knew that I wanted to make films. Then I met Damilola Orimogunje, who took me under his wing and decided to mentor me. Suddenly, I was being introduced to an entirely different world of filmmaking, one that challenged almost everything I thought I had learned in the months before.

It forced me to confront how much I didn’t know, but also how much more there was to discover. I began to understand that filmmaking wasn’t just about learning the craft or getting things right. It was also about developing a way of seeing, learning to trust my instincts, and figuring out what I wanted to say as an artist. That experience has stayed with me. I think I’m still figuring out the kind of filmmaker I want to be, but I’m much more comfortable with the uncertainty now. I know the kinds of stories I want to tell, and I’m more interested in the questions they leave behind than in having all the answers.

Streamdorm: Every filmmaker has stories they feel compelled to tell, but not every story is easy to tell. What is it about the world, the people around you, or your own experiences that continues to draw you towards the stories you tell?

Chinazaekpere Chukwu: I think I’m drawn to the ordinary, everyday experiences that make us who we are. I want to tell simple stories that replicate lived experiences. It’s that simple. I’m interested in people, in how they navigate their lives, the choices they make, the things they desire, and the things they have to give up. I think there’s so much to explore in the lives we live every day, and I want to make films that reflect that. Stories that feel familiar, even when the circumstances are different from your own.

Streamdorm: Ejiro’s story is shaped by expectations placed on her as a woman, a wife, and a mother, particularly the pressure to produce a male heir. What did you discover about these expectations while making the film that you hadn’t fully understood before you began telling her story?

Chinazaekpere Chukwu: I think what struck me most is how deeply these expectations are woven into the fabric of our lives, to the point where we sometimes stop questioning them. Making this film made me think more about how much of a woman’s life can be shaped by what other people need her to be. And how easily her own desires can become secondary to those expectations. I think that’s something a lot of women will recognize, even if their circumstances are different from Ejiro’s.

Chinàzaēkpērē Chukwu 'Her Daughter's Mother' to screen at Film Africa London pic.twitter.com/9AASzAryY4

— Streamdorm | Film & TV News (@Streamdorm_) October 10, 2026

Streamdorm: When audiences watch Her Daughters’ Mother, they may leave with different interpretations of Ejiro’s choices and circumstances. What is one uncomfortable question about women, family, or society that you hope the film leaves them wrestling with long after watching?

Chinazaekpere Chukwu: I hope it makes people question how much freedom a woman actually has to make choices about her own life. We often talk about women making choices, but we don’t always interrogate the circumstances in which those choices are made. What does choice mean when your survival, your children’s future, or your place in your family depends on making the decision other people expect of you?

I don’t think the film necessarily provides an answer to that question. But I hope it makes people sit with it, particularly when they find themselves judging Ejiro’s decisions.

Streamdorm: Your feature debut is heading to London for Film Africa 2026, taking a story rooted in the cultural realities of Nigeria’s South-South region to an international audience. When you imagine people watching this film far from the world in which it was made, what does that moment mean to you, and what do you hope they recognize in Ejiro’s story?

Chinazaekpere Chukwu: It means a great deal to me, especially because this is my first feature film. I made a story rooted in the cultural realities of the South-South region of Nigeria, and I’m excited about the possibility of people encountering that world through Ejiro.

I think one of the beautiful things about cinema is that it allows us to enter lives that are different from our own and still find something familiar in them. The cultural context of Ejiro’s story may be specific, but I believe the questions she is navigating are not. Questions about womanhood, marriage, motherhood, freedom, and the things we sacrifice to belong to a family are not exclusive to one place or culture.

I hope audiences connect with Ejiro as a person, beyond the circumstances that define her, and leave with a little more curiosity about her life and the lives of women whose stories they may never have encountered otherwise.

Her Daughters’ Mother is directed by Chinazaekpere Chukwu and stars Ejovwoke Obad Olikuntuyi, Osas Okonyon and Philip Asaya. The film is scheduled to screen at Film Africa 2026 in London on October 28.

Netflix has laid off approximately 1,000 employees, representing around 6% of its workforce, in its largest round of job cuts since 2022. The layoffs were announced on October 14, 2026, as the streaming giant looks to streamline its operations and direct more resources towards areas it believes will drive future growth.

The job cuts were communicated in an internal memo from Netflix co-CEOs Ted Sarandos and Greg Peters. The move comes at a time when the company remains profitable but faces growing pressure to maintain audience engagement, attract new subscribers and compete for viewers’ attention in an increasingly crowded entertainment market.

Despite reporting strong financial results in 2025, Netflix is reassessing how it allocates its resources as the streaming industry continues to evolve.

The latest Netflix layoffs primarily affect employees in product, technology, legal and human resources, although reports indicate that other parts of the business, including film and television operations, may also be affected.

In their internal memo, they explained that the company’s ambitions require careful decisions about where its people and resources are deployed.

The executives stressed that Netflix’s business remains strong and growing, adding that the company remains on track to meet its full-year financial forecast for 2026.

They also reaffirmed Netflix’s intention to continue investing in areas that can improve its service, support innovation and generate further growth.

The announcement suggests that the company is seeking to reorganise its workforce around its priorities rather than simply reduce spending across the business. However, the scale of the cuts highlights the difficult decisions facing even established streaming platforms as they adapt to changing audience habits and competitive pressures.

Although Netflix has not attributed the layoffs to a single cause, the decision comes amid concerns about growth, audience engagement and the company’s position in the wider entertainment market.

Netflix has reportedly laid off around 1,000 employees, 6% of its staff

via Variety pic.twitter.com/W7uu6fW6bJ

— Streamdorm | Film & TV News (@Streamdorm_) October 14, 2026

Netflix has built its success on original programming, a global subscription business and its ability to keep viewers returning to the platform. Maintaining that momentum, however, has become increasingly challenging as audiences divide their time across more entertainment services.

Sarandos acknowledged the challenge in late September 2026, saying, “We’re not growing as fast as I want us to.”

The comment reflects the pressure on Netflix to accelerate its growth, even as it remains one of the most influential companies in streaming.

Competition is no longer limited to other subscription services. YouTube, TikTok and other digital platforms offer enormous libraries of content, much of it free to watch, giving audiences more options for how they spend their time.

YouTube, in particular, has strengthened its position in television viewing, challenging the traditional distinction between streaming services and other forms of digital entertainment.

As viewing habits change, Netflix must compete not only for subscriptions but also for the hours audiences are willing to spend watching its content.

Netflix’s latest workforce reduction comes despite a strong financial performance in 2025, when the company generated approximately $45.2 billion in revenue and $11 billion in net income.

Those figures underline an important point: the layoffs do not, by themselves, indicate that Netflix is struggling to remain profitable.

Instead, the company is operating in an environment where financial success does not automatically guarantee faster growth or greater audience engagement.

The company’s next earnings update, expected around October 20, could provide further insight into its financial outlook and strategic direction.

The streaming industry has become a broader contest for attention, with Netflix competing against services that operate under very different business models.

YouTube benefits from a vast supply of creator-led videos, livestreams and other content, while TikTok has built a large audience around short-form entertainment. Both platforms compete for time that viewers might otherwise spend watching films, series and other long-form programming.

For Netflix, this creates a challenge that extends beyond adding subscribers. The company must also give existing users compelling reasons to keep watching, return for new releases and maintain their subscriptions.

The pressure is particularly significant as streaming markets mature and consumers become more selective about the services they pay for.

The company has faced questions about its growth prospects, content spending and ability to deliver major hits consistently. Its unsuccessful pursuit of Warner Bros. Discovery assets has also formed part of the wider debate about its future content strategy and opportunities for expansion.

The company’s stated approach is to prioritise the people and resources needed to advance its most important goals. In practice, that means balancing its established film and television business with newer opportunities that could strengthen its position in the evolving entertainment market.

Netflix’s decision to eliminate around 1,000 jobs is a significant development for the company and the wider entertainment industry. It is the largest workforce reduction Netflix has undertaken since 2022.

Pope Leo XIV has been diagnosed with lung cancer following surgery at Rome’s Agostino Gemelli University Hospital, the Vatican has confirmed.

The 71-year-old Pontiff underwent Surgery on Tuesday, October 13, to remove a tumour from his right Lung after Doctors discovered a small, localised nodule during recent Medical examinations.

According to the Vatican, an examination conducted during the operation confirmed a diagnosis of Lung Adenocarcinoma, a type of Cancer that develops in the Glandular Cells of the Lungs.

The procedure involved removing the lower lobe of the Pope’s right Lung using a video-assisted surgical technique. The Vatican reported that the operation was successful and that there were no complications.

The Lung abnormality was detected during medical examinations before the Pope announced on Sunday, October 11, that he would undergo surgery on his doctors’ advice.

At the time, Leo XIV described the nodule as having been detected at a very early stage and as being well localised. He subsequently confirmed that he would proceed with the recommended operation.

Pope Leo XIV Diagnosed With Lung Cancer After Surgery to Remove Part of His Right Lung, Vatican Confirms. pic.twitter.com/7Vn9aZc27r

— Streamdorm | Film & TV News (@Streamdorm_) October 13, 2026

The surgery marks the most significant publicly reported health issue of his papacy, which began in May 2025.

Following the procedure, the Pope returned to his hospital room to begin his recovery. The Vatican had previously indicated that he was expected to remain in hospital for approximately one week.

Although the surgery was reported to have gone well, details about the Pope’s next steps in treatment and long-term prognosis remain limited.

Further medical assessments will help determine whether the cancer has spread beyond the affected area and whether additional treatment will be necessary.

Lung Adenocarcinoma is a form of non-small Cell Lung Cancer. Its outlook varies depending on factors including the stage of the disease, whether it has spread and how successfully it responds to treatment.

The Vatican has suspended the Pope’s public audiences through October 20 to allow him time to recover.

His health will remain a key concern for Catholics around the world as he recuperates from the operation.
Further news will see to it that this post is updated.

Duane “Keffe D” Davis has been sentenced to 40 years to life in prison for his role in the 1996 murder of legendary rapper Tupac Shakur, marking a major development in one of hip-hop’s most notorious criminal cases.

Keffe D Sentenced to 40 Years to Life in Prison for the 1996 Murder of Tupac Shakur. pic.twitter.com/uud3hUHZvw

— Music on Streamdorm 🎧 (@Streamdorm) October 13, 2026

Davis, 63, was sentenced on Tuesday, October 13, 2026, in a Las Vegas courtroom, nearly two months after a jury found him guilty of first-degree murder for orchestrating the fatal shooting that claimed Shakur’s life at the age of 25.

Judge Carli Kierny handed Davis a sentence of 20 years to life for first-degree murder, followed by a consecutive 20-year sentence associated with the use of a deadly weapon, bringing the total sentence to 40 years to life.

During the hearing, Judge Kierny addressed the gravity of the crime and the impact of Shakur’s death on his family.

“You don’t get to take a man from his family,” Judge Kierny said. “You don’t get to take his very life, his whole future, from him and just walk away from it. Especially when that man is Tupac Shakur.”

The sentence means Davis could spend the remainder of his life in prison. Although he could eventually become eligible for parole, release is not automatic, and his legal team has indicated that it intends to appeal his conviction.

Tupac Shakur was shot on September 7, 1996, while riding in a black BMW driven by Marion “Suge” Knight, the co-founder of Death Row Records, in Las Vegas.

The shooting occurred after a heavyweight boxing match between Mike Tyson and Bruce Seldon at the MGM Grand casino. Earlier that evening, Shakur and members of his entourage had been involved in a physical altercation with Orlando Anderson, Davis’s nephew.

The confrontation was linked to longstanding tensions between rival street gangs in California.

According to prosecutors, the casino fight prompted Davis and his associates to seek revenge against Shakur and his entourage. Later that night, a white Cadillac pulled alongside the BMW near the Las Vegas Strip, and gunfire erupted.

Shakur was struck multiple times. Knight survived the attack, but the rapper died from his injuries six days later, on September 13, 1996.

He was 25 years old.

His death sent shockwaves through the music industry and left one of hip-hop’s most influential artists unable to fulfil the enormous creative potential that had made him a global figure.

For nearly three decades, the murder remained unsolved, becoming one of the most widely discussed cases in music history.

Prosecutors argued that Davis helped organise the attack, supplied the firearm and was inside the Cadillac from which the shots were fired.

They maintained that he played a leading role in the retaliation following the confrontation involving his nephew, even though he was not accused of personally firing the fatal shots.

Davis became the central figure in the investigation after making statements about his involvement in the shooting over several years.

His accounts appeared in interviews, media appearances and his 2019 memoir, Compton Street Legend. He also discussed the incident during a 2008 interview with investigators under an agreement connected to a separate investigation.

Prosecutors argued that Davis’s own words helped establish his involvement and provided investigators with information they could corroborate.

His public statements eventually helped revive an investigation that had stalled for years.

Davis was arrested in September 2023 and charged with murder in connection with Shakur’s death. He was the only person ever charged in the case.

Davis pleaded not guilty and disputed the prosecution’s account of his role in the murder.

His defence team argued that his previous statements were not necessarily reliable and that he had exaggerated aspects of the story. They also challenged the lack of physical evidence directly connecting him to the shooting, including the absence of the murder weapon.

Prosecutors, however, argued that Davis’s accounts, alongside other evidence presented at trial, established his responsibility for orchestrating the attack.

After hearing the evidence, a jury found Davis guilty of first-degree murder on August 31, 2026, following a trial that lasted several weeks. The jury reached its verdict after less than three hours of deliberation.

The conviction made Davis the first and only person to be found guilty in connection with Shakur’s murder.

Orlando Anderson, Davis’s nephew, was identified during the investigation as a possible gunman because of the confrontation with Shakur earlier on the night of the shooting.

Anderson was questioned by police but was never charged in connection with the rapper’s murder. He died in a separate shooting in 1998, two years after Shakur’s death.

Prosecutors argued that the earlier altercation involving Anderson provided the motive for the attack later that night.

However, the identities of the people who fired the fatal shots have not been conclusively established through the case.

Davis’s conviction was based on his alleged role in organising the murder, rather than an allegation that he personally pulled the trigger.

Davis’s sentence consists of consecutive terms, meaning the second term follows the first rather than running at the same time.

In practical terms, he faces a minimum prison term of 40 years before potentially becoming eligible for parole, subject to the applicable legal calculations and rules.

Davis was born in June 1963 and is 63 years old. Serving the full 40-year minimum would put him at approximately 103 years old before completing that period, although credit for time already served may affect the calculation.

According to reporting on the sentencing, Davis received credit for 731 days already served.

Even when an inmate becomes eligible for parole, release is not guaranteed. If parole is denied, Davis could remain in prison for the rest of his life.

The sentence therefore leaves open the possibility of release while placing Davis at risk of dying behind bars.

Tupac Shakur’s murder has remained a defining tragedy in hip-hop history, attracting years of speculation, documentaries, books and investigations.

The rapper was celebrated for his music, his screen performances and his ability to address social inequality, violence and life in marginalised communities. His influence has endured long after his death, with his catalogue continuing to reach new generations of listeners.

Nigerian rapper Blade Escobar recently released his long-awaited rap EP titled Hits Only, No Mrs. It contains 7 songs, including an interlude. The EP has a total run time of 33 minutes and features Kyoo Manen on ‘Whine for Me’, the 5th track.

On Streamdorm’s Starting Line, Blade Escobar discussed how Hits Only, No Mrs came to be and the inspiration behind the EP. Watch Here.

The Long Ass Intro by Blade Escobar

Yeah
Yeah
Ladies and gentlemen (Uh)
Uh
You are now in the Renaissance (Uh)
The new era (Yeah)
And right about that time (Uh)
I present to you (Uh)
Hits Only (Uh)
No Mrs (Blizzblade)
Yeah yeah yeah yeah (Blade Get ’em)

I am so unholy
But how is it I still dwell in Rap’s holy of holies
I’m deified, it can’t be denied
Two classic projects under my belt
Man, fuck the fame, I can’t be denied,
I can’t be defied
I can’t be defined
I’m an anomaly (facts)
New Wiz post “Made in Lagos”, you niggas comedy (facts)
Said what I said, man, fuck the harmony (ha)
If violence is the only way to peace, I’m Mr. Monopoly (Bitch)
Bar’s high, but the rhymes and the bars are stacked
Higher than the ladder to Al Jannah
All you niggas is Jahannam
We are nothing alike
I’m Nas, you’re Nasboy
And some of y’all Lil’ Nas X and mini Diddies allegedly according to Gistlover (haha)
But who am I to judge? (ha)
He without sin shall cast the first stone
I’d rather give that stone to Marc Jacob, tell him get my wrist froze
It’s only right I get my teeth froze
Cold blooded killer with the lyrics
Was seeing spirits as a teen who kissed the Green Spirit in school
Graduated to swimming in Spirit, when he should be deep in The Spirit after Sunday school (yeah)
Ditching sermons, instead he swimming in kitty, probably kick her back to the curb
A new girl every weekend complimenting my culinary, huh
You should probably thank that girl from last weekend (woo!)
Still end up in their deep ends (woo!)
Pockets far from deep and
They still let a nigga deep in (uh)
Some feining on the Opium of the Masses
They streaming Mass live after taking good lashing (uh)
Cabashing to Nathaniel Bassey, later come back for more nyashing
They like the atheists I’m smashing, it’s an irony they all kneel and worship this nutsack they sacrilegious, uh
The boy very spiritual but far from religious (yeah)
That’s why these rap gods, I don’t accord worship to ’em (yeah)
These other rappers, I’m a god to ’em (facts!)
If you ain’t M, Q, Modo or Boogey, I’m outrapping you
If you’re not Jesse Abaga, I’m outrapping you (yeah)
And for you Afrobeats wack niggas
If you’re not Burna Boy, David or Rema, I’m bout to whack niggas
If you’re not Victony or Omah Lay
When you see me, you should kneel and call me Jefe, bitch, I ain’t here to play (Boss, nigga!)
By the time he hits tracks 2, 3, 5 and 6
I swear to God, Wizkid will press replay
And wonder why he dropping mid after mid since 2020
Ha!
For me it’s hit after hit on this Extended Playlist (yeah)
Independent, but my shit sounds A-list
If God had Spotify, I’d be on His playlist
I was born to win, only time I’ll almost lose (uh)
Is the day Wizkid grows a strand on his chin (haha)
You shitted on the rap game and dropping mid after mid
Now a rapper ’bout to bury you in hit after hit
Bitch!

Let it breathe (uh)
Let it breathe (uh)
Yeah (yeah)
See, amma let it breathe, uh
So once upon a time, I was in the trap cooking all this crack
And my connect told me “Blade, you need to let the poor breathe”

Hahahaha
Uh
Yeah

The industry is so unholy (yeah)
The government is so unholy
As the leaders of the free world who
Exploit the hoi polloi and bury ’em in TikTok and algorithms
Got ’em dancing to the rhythms
While they trapped in they web (uh)
Blind to the fact
That they really far from freedom
Instead they languishing in a thraldom that’s so deep
As a straight male artist getting penetrated for fame
Now he a rich slave to the devil and to his own shame
Damn what a shame
Some rap gods tried to play God, they failed and they cursed His name (uh)
Lord forgive me for the days I pressed play and nodded to a man say Jay Hova was his name
Now I’m bout to slay these false idols, now I’ve seen inspiration (uh)
Today na today, I got rid of procrastination (yeah)
Tried to create but NEPA was the weapon fashioned against my life
They don take light again
God Damn!
I don go on gen, them bring light again
I off gen again, them take light again
This whole saga done repeated ten times until I saw that again
My screen turned blue, hard drive again
Na 30k for new hard drive, bar wey I no get plan to spend
Inspiration disappear, bítì National Grid
Presido and cabinet drowning in national greed
130 meter per senator, that’s national whips
The chief whip threw away his whip when he saw the new tear rubber
Rubber Stamp Senate fucked without lube (uh)
Me I had to skip meals, lost calories
And so I finally fixed my hard drive from my three figure dollar salary
Tried to download my beat, MTN happened ’cause of small rainfall, I couldn’t record and now I’m snapping
Told myself I’d do it tomorrow, tomorrow came
Plans changed, Lagos really fucked with my mind frame
They nearly move my phone for front seat of yellow bus
Conductor helped me with seatbelt, na so my pocket free
I come para, bus stop, I come give am blow for him front teeth
Searched the bloody thief, I see my phone for him boxers
Use another blow, scatter him teeth
He pick him teeth from the street
Jumped back into the bus, the driver sped off
I think I really tired of living inside this Lagos Where landlord and agent conspire to turn accommodation fees into chainsaw
Your neck go cut 1.5 mil for a mini flat, “no Yahoo Boys allowed” (Bitch)
But na Yahoo Boy go still take the house
‘Cause 92% of the Nigerian Labour Force be living like a mouse
Uh
Think about that
Yeah
Walking through the Valley of the Shadow of these Lekki babes with their BBL
Only thing they hate is stingy men
Selling coochie, packaging bougie
Spe-

Oya stop stop stop stop stop guy
See I told you
You’re here to entertain us enough of all this rap bullshit man
I might have to retract this deal if you don’t actually make something
Oya Retract am naw
Retract am!!!
Give me something, anything Afro even if it’s Afro Rap, Afro Commercial
Just something Afro (Afro kill your papa there idiot)
Take your fucking deal out my….
Guy wake up, guy wake up (mmmh…)
You don dey crash for this studio for the past five hours
Really?
Na your leave be this naw
Stand up, guy
I talk say I go flex you this holiday day naw
Make we go to that club where I don-
Oh, fuck, that shit, man.
Yeah, that shit, guy, that’s what I’m telling you, man
Guy, omo some fine ass bitches in that shit, man
Guy, who gives a fuck about Big Pharma?
You’ve been saying all that shit in your sleep.
Guy, really?
Guy, really, man
Guy make we dey go, abeg
Okay, man, for you, I’ll do this shit, man (Bad guy)
But you sef, you know the kind package wey I like, naw
All these mighty nyash (Ah no be you again?)
Wey dey be like say na water dey inside (You and nyash)
Wey be say if she waka like this, the nyash go want disintegrate
Guy, say less man, make we we ball
Oya, give me 30 seconds naw, make I go shower
Guy, you don bath already today now, make we go naw (Steeze gats dey on check naw)
Alright man I got you

Wekere (Ikebe Supa) by Blade Escobar

Blizzyblade
Going in
Yeah
Uh
Wekere Wekere (yeah yeah)
Wekere Wekere

Call me all night, oh baby, call me all night
Loving that body, on my body all night
When you come home tonight, girl, you be coming all night
I know you want it girl then come for the night
Cause that booty so big,
Yeah that booty so fat
When I’m on that booty, girl, I ain’t gon’ be tired
Coming home baby to that booty tonight
When you come home tonight, girl, you’ll be coming tonight (Yeah)

‘Cause the thing that you get it is
Wekere Wekere Wekere Wekerewe
In combat jeans it is
Wekere Wekere Wekere Wekerewe
When you in the bum short it is
Wekere Wekere Wekere Wekerewe
In tight and pant it is
Wekere Wekere Wekere Wekerewe
When you just minding your business it’s
Wekere Wekere Wekere Wekerewe
Even in the wrapper it is
Wekere Wekere Wekere Wekerewe
Everything on top it is
Wekere Wekere Wekere Wekerewe
Without even trying it’s
Wekere Wekere Wekere Wekerewe
Oh yeah yeah

Ikebe Supa, Baby mi wa je cucumber
Ikebe Supa, Baby mi wa je cucumber
Ikebe Supa, Baby mi wa je cucumber
Ikebe Supa, Baby mi wa je cucumber
Ikebe Supa, Baby mi wa je cucumber, ahhh (Wekere) (Uh)
Ikebe Supa, Baby mi wa je cucumber, ahhh (Wekere Wekere) (Yeah)
Ikebe Supa, Baby mi wa je cucumber, ahhh (Wekere Wekere Wekere) (Yeah)
Ikebe Supa, Baby mi wa je cucumber
(Blizzyblade) (Wekere)

Baby girl, your body is calling
So my goal is to answer, baby, I’m balling
No dulling
Baby girl, you’re prettier than Barbie
Matter of fact, baby, you can be my dear
Bambi
Pardon your boy for the wordplay
But this boy mean every goddamn word he gon’ say
Foreplay prolly make you come one time
Check the rollie on my arm, you can see it’s our time, baby
Sex O’clock, the clock has tocked
You a real bad chick you make the cock unlock
So baby girl don be acting like a chicken
No church worker baby girl, you make me wanna put the dick in
Then we get freaking
Baby what you thinking
I be swimming in the money, girl, we ain’t sinking
Phelps in this bitch yeah, truth be told
My gold chain stay flooded like Hurricane Katrina
Seen her the other day
Had a lot of good sex
Shawty is a naughty girl, tell her she go chop cane
How many strokes and rounds before she turns around
And switch strokes, she’s dope I’m choking
She’s smoking hot
Plus my baby High Fashion like her Gucci marijuana with the Louis and the Prada
She finer than Rihanna, but I treat her like a monkey
If she open that punana, amma give her that banana
She smoking hot
‘Cause my baby High Fashion like the Gucci marijuana with the Louis and the Prada
She finer than Rihanna, but I treat her like a monkey
If she open that punana, I’ma give her that banana (‘Cause the thing that you get it is)

Wekere Wekere Wekere Wekerewe
When you in them jeans, it is
Wekere Wekere Wekere Wekerewe
When you in the bum short, it is
Wekere Wekere Wekere Wekerewe
In combat jeans, it is
Wekere Wekere Wekere Wekerewe (ooh yeaaahhh)

Ah

Ikebe Supa, Baby mi wa je cucumber (yeah ooh yeah)
Ikebe Supa, Baby mi wa je cucumber (yeah yeah yeah)
Ikebe Supa, Baby mi wa je cucumber (ooh yeah)
Ikebe Supa, Baby mi wa je cucumber
Ikebe Supa, Baby mi wa je cucumber
Ahhh
Ikebe Supa, Baby mi wa je cucumber
Ahhh
Ikebe Supa, Baby mi wa je cucumber
Ahhh
Ikebe Supa, Baby mi wa je cucumber

It’s big like e
Like e Hotylioness
The baka is big, it’s bigger than Hotylioness
The baka is big, it’s bigger than Hotylioness
The baka is big, it’s bigger than Hotylioness
Ehhhhhhhhh (Ahhhh)

Ikebe Supa, Baby mi wa je cucumber (yeah, yeah)
Ikebe Supa, Baby mi wa je cucumber (ooh yeah)
Ikebe Supa, Baby mi wa je cucumber (yeah yeah)
Ikebe Supa, Baby mi wa je cucumber (oh yeah)
Ikebe Supa, Baby mi wa je cucumber (Wekere Wekere)
Ikebe Supa, Baby mi wa je cucumber (Wekere Wekere)
Ikebe Supa, Baby mi wa je cucumber (Wekere Wekere Wekere)
Ikebe Supa, Baby mi wa je cucumber

BLAH!

That girl is just standing there, but the ass is movingoneown!
It’s movingoneown!
Eyyy

Tonight by Blade Escobar

Yeah
Oh yeah
Yeah
Oh baby
Yeah
Oh yeah
Yeah

I see you girl
Right through the door
I see you through my Diors
The boy is a Christian, but I can picture me sinning
That ass got me hooked tonight
Gotta take a second look tonight
Oh baby
She don hit me with the look tonight
Now my stick don dey chook the nyash
The chick just dey shake the pim-pim-pim (yeah oh yeah)
And the thing just dey do me pim-pim-pim
She squeeze on my thing-thing-thing-thing-thing
With the heavy load gbim-gbim-gbim-gbim-gbim (yeah oh yeah)
VIP in the swimming thing-thing-things
Now we skinny dip, skinny dip-ping-ping (yeah oh yeah)
She feeling me, skinny with big things
Now she killing me with the big big things (yeah oh yeah)

Lean on me girl, put that thing on me, girl (yeah oh yeah)
Lean on me girl, sit that thing on me, girl (yeah oh yeah)
Lean on me girl, do that thing on me, girl (yeah oh yeah)
When we do that thing on me, girl
You gon’ squirt on me, girl (yeah oh yeah)

Tonight, girl
Amma do all the things that you like (yeah oh yeah)
Tonight, girl
Amma make you my wife for the night (yeah oh yeah)
Tonight, girl
You’ll forget you had that nigga in your life (yeah ooh yeah)
Tonight, girl
Girl, tonight, girl
Tonight, girl (Tonight)
Amma do all the things that you like (oh yeah)
Tonight, girl (Tonight)
Amma make you my wife for the night (Ooh baby)
Tonight, girl (Yeah)
You’ll forget you had that nigga in your life (Oh yeah)
Tonight, girl
Girl, tonight, girl (Ahhhh)

Óyá jùsílè, baby balance
Óyá tèsójúè, má wó pátá (yeah oh yeah)
Óyá gbàsíbè, o gallant
Mò gbè sínú ìdí è, o ràbàtà (yeah ooh yeah)
Óyá jùsílè, baby balance
Óyá tèsójúè, má wó pátá (yeah ooh yeah)
Óyá gbàsíbè, o gallant
Mò gbè sínú ìdí è, o ràbàtà
Óyá jùsílè, baby balance
Óyá tèsójúè, má wó pátá (yeah oh yeah)
Óyá gbàsíbè, o gallant (uh)
Mò gbè sínú ìdí è, o ràbàtà (yeah ooh yeah)
Óyá jùsílè, baby balance (uh)
Óyá tèsójúè, má wó pátá (yeah ooh yeah)
Óyá gbàsíbè, o gallant (uh)
Mò gbè sínú ìdí è, o ràbàtà

Look

Baby girl, I’m done staring at your hips tonight
They be doing me like kryptonite
Now I’m weak and I’m dazed, girl
That’s why you gotta creep tonight
To my crib tonight
And leave your man
‘Cause that boy a clerk, me, I got balls of steel
I know you’re wondering what else amma steal tonight (uh)
Cause I’m done stealing gazes of your ass and your eyes
Now the shine in your eyes tell me I done stole your heart (yeah)
Now it’s artwork the way that you whine
Girl, you a dime like Antwerp, the way that you shine it’s like astrology (yeah)
Two planets behind you when you turn around (wooh)
Yeah, that ass is in orbit when you make it bounce
Scratch
I meant to say two suns (uh)
We could start a new universe, give me two sons (yeah)
When we at the crib
I’ll make you come so hard, you’ll collapse more times than the National Grid

Tonight (Tonight, girl)
Amma do all the things that you like (yeah oh yeah)
Tonight, girl
Amma make you my wife for the night (yeah oh yeah)
Tonight, girl
You’ll forget you had that nigga in your life (yeah ooh yeah)
Tonight, girl (Tonight, girl)
Tonight, girl
Amma do all the things that you like (when you put that thing on me)
Tonight, girl
Amma make you my wife for the night (when you do that thing on me)
Tonight, girl
You’ll forget you had that nigga in your life (you’ll forget you had that thing)
Tonight, girl
Girl, tonight, girl (Ahhhh)

Óyá jùsílè, baby balance (oooooh)
Óyá tèsójúè, má wó pátá
Óyá gbàsíbè, o gallant (yeah oooooh)
Mò gbè sínú ìdí è, o ràbàtà
Óyá jùsílè, baby balance (yeah yeaaaah)
Óyá tèsójúè, má wó pátá (yeah yeah)
Óyá gbàsíbè, o gallant (oooooh)
Mò gbè sínú ìdí è, o ràbàtà (yeah yeah)
Óyá jùsílè, baby balance (oooooh)
Óyá tèsójúè, má wó pátá (yeah yeah)
Óyá gbàsíbè, o gallant (yeaaaah)
Mò gbè sínú ìdí è, o ràbàtà (yeah yeah)
Óyá jùsílè, baby balance (oooooh)
Óyá tèsójúè, má wó pátá (yeah yeah)
Óyá gbàsíbè, o gallant
Mò gbè sínú ìdí è, o ràbàtà (Girl, tonight girl)

Oh…
Hello
Precious!
Precious!
Pick up your…
Precious!
After that everything I’ve done everything for you!
I sent you to sch…
Precious!

The Wack Trap Song – Interlude by Blade Escobar

Grrrr
Grrrr
Hits Only No Mrs, you know what it is is (Grrrrr)
Yeah
Yeah
Yeah
Yeah (Uh)
Yah yah yah
Blizzyblade going hard on ’em (yeah)
Yeahhhhh

All my niggas stay hard by design (yeah)
Finna cop a Benz and a Lamb (yeah)
All my niggas stay hard by design (yeah)
All my niggas go hard for their slimes (yeah yeah)
No Diddy, Diddy, no lie (uh uh yeah yeah)
All my bitches go hard on the pipe (skrrr)
Three with the fourteens blowin’ opps (skrrr)
Kpai for a piece of the pie (wooo)
She don made you fall in love till you died

Ay (uh)
Yeah (uh uh)
I be the beast (yeah)
She want a piece (ayy)
She too greedy (yeah)
She wanna eat it (yeah)
She want the meat (yeah)
She not a vegan (yeah)
She want a ring (yeah yeah)
I cannot deal (yeah yeah)
She be on pills (Rrrrr)
That purple drank (yeah yeah)
Purple codeine (yeah yeah)
Promethazine (yeah yeah)
With Benylin (yeah yeah)
She call me Benny (yeah yeah)
Hop out the Benz (yeah yeah)
She call me Benny (yeah yeah)
Throwin’ her Benjies (yeah yeah)
I don’t do Fendi (yeah yeah)
I am not friendly (nah)
I don’t do Fendi (no nah)
She like the carats (ayy)
She like a bunny (ayy yeah yeah)

Ha ha ha ha ha
Haaaaaa
Blah blah blah blah (yeah)
Ha
Ya ya ya ya
Rrrrr blah
Skrrr skrrr skrrr

Yeah yeah

Turn it up, turn it up, turn it up
Yeah
Turn it up
Yeah nigga yeah nigga set it off (yeah yeah yeah)
Set it up, set it up, set it off (yeah yeah yeah yeah)
All of you niggas so wack (yeah yeah yeah)
That is what the fuck you rapping
That is what the fuck you rapping
Wack ass wack ass wack ass wack ass rap niggas (ayy)
Wack ass rap niggas (ayy) (skrrr)
Wack ass trap niggas (ayy)
Sending shots your way (yah yah yah)
Booze delivery (yah) (blah)
Nigga coming hard on your bitch everyday
Every day of the week I be coming hard (yeah yeah)
Coming hard coming hard, no homo nigga (yeah yeah)
No promo nigga (yeah yeah yeah)
Pop the fofo nigga
Chrome to ya dome, nigga, pop the fofo, nigga (blah)
Ayyyy
Fuck the popo, nigga (blah)
Money bag, money bag, money bag, money bag, money baaaaag

Ha ha ha ha
Haaaaaa (yeah yeah yeah yeah)
Yeah, yeah, yeah, yeah
Rrrr
Rrrr

Hits Only
Hits Only, Hits Only
Hits Only, Hits Only, Hits Only (No Mrs)
Hits Only, Hits Only, Hits Only
Hits Only, Hits Only, Hits Only

Yeah
Uh
Uh
Yeah

Rap in my genes (ayy)
This ain’t no denim (nah)
Yeah, rap like a deity (yeah)
Hop out the Demon (yeah)
Hop out the Benz (yeah)
Hop out the Bentley (yeah)
Yeah, your bitch is greedy (yeah)
She wanna eat it (yeah)
D got her feining (yeah)
Just like she pilling (yeah)
I cannot deal (yeah)
She be on lean (ayy)
Purple codeine (yeah)
Promethazine (yeah)
Pussy a savage (yeah)
I got her Fenty (yeah)
She be like Riri (yeah)
I got her Fenty (yeah)
Gave her the wee-wee (yeah)
I copped her Fendi (yeah)
I gave her semen (yeah)
I gave her semen (yeah)
After the weekend (yeah)
She cannot see me (yeah)
Ayy
Yeah
Yeah
Yeah

Yo Blade
Is it true you’re using ghostwriters?

Paparazzi still speaking
End

Whine For Me (Ft. Kyoo Manen) by Blade Escobar

Mmm mmm
Oh no no no no no
Ooh baby oh yeah
Oh no

You be you be rodo
Pepper them like rodo
Pepper all these niggas wey dey shine their eyes like choko
Whine it on me
Grind it on me
Put it on me
Oh no no
You be you be rodo
Pepper them like rodo
Pepper all these niggas wey dey shine their eyes like choko
Whine it on me
Grind it on me
Shake it on me
Oh no
Body to body
Baby, twerk on me
Baby, baby, grind it up on me
Baby, baby, put it up on me, me
Body to body
Baby twerk on it
Baby, baby, grind it up on me
Baby, baby, wind it up on me, me (oh no)

Baby I love the way you smile
Like you was made to shine
And when you turn 60, girl, you’ll still be in your prime
It’s been a while, still can’t get my eyes off your behind
Cause when you waka pass, e be like water dey inside
Be like say the thing want disintegrate comot your waist
And the way you shake dey stimulate all of my brain
Come to my place girl, let’s integrate with no delay
Cause a part of me wants to immigrate inside the place (hey)
Make we do am (eh)
Baby make we do am (eh)
Your Bakassi na problem, e go need the Peninsula (hey)
Make we do am (eh)
Baby, make we do am (eh)
Give her shakabula, four rounds men she feel am (yeah)
Now she don de shiver (uh)
Made her legs quiver (uh)
Said she can’t live hmm, me we dey shift her liver (yeah)
Back bigger than Molue, front be like trailer
All these niggas is friendzoned, na you be jailer

You be you be rodo (ayy)
Pepper them like rodo (ayy)
Pepper all these niggas wey dey shine their eyes like choko
Whine it on me (ayy)
Grind it on me (ayy)
Put it on me (uh)
Oh no no
You be you be rodo (ayy)
Pepper them like rodo (ayy)
Pepper all these niggas wey dey shine their eyes like choko (ayy)
Whine it on me (yeah)
Grind it on me (yeah)
Shake it on me (yeah)
Oh no
Body to body
Baby, twerk on me
Baby, baby, grind it up on me
Baby, baby, put it up on me, me
Body to body
Baby, twerk on it
Baby, baby, grind it up on me (uh)
Baby, baby, wind it up on me, me (oh no) (yeah)

After the four rounds, she fixed us a hot plate
Fufu and White Soup, I don down like four plates
She cleared the plates, then she told me “baby come and clear the place”
You had a couple plates, now come and have the plate
She hitting notes higher than the Fat Choir Mistress
She said that I’m a naughty boy, be my Head Mistress
Then I’m her Principal
Bless her with the principle
She was your girl bro, that evidence inadmissible
You go explain tire
Here, she don dey climb ladder
She be rider (yeah)
I get horse power, she be rough rider
She dey puff harder, ’cause the rod long like puff adder
She talk say when you rise, hmm, na Ofada (haha)
You no fit handle that bum bum, it’s like Osama (wooh)
It’s why I give her this Nim-Rod it’s like a tower (wooh)
The only babe wey fit chest this bulldozer (boom)
That cookie my apartment, I guess you can say I’m coming home (yeah)

You be you be rodo (ayy)
Pepper them like rodo (ayy)
Pepper all these niggas wey dey shine their eyes like choko
Whine it on me (uh)
Grind it on me (uh)
Put it on me
Oh no no
You be you be rodo (yeah)
Pepper them like rodo (yeah)
Pepper all these niggas wey dey shine their eyes like choko (uh)
Whine it on me (yeah)
Grind it on me (yeah)
Shake it on me
Oh no
Body to body
Baby, twerk on me
Baby, baby, grind it up on me
Baby, baby, put it up on me (me) (love the way you grind it baby)
Body to body (uh)
Baby, twerk on it
Baby, baby, grind it up on me (love the way you move it, girl, uh)
Baby, baby, wind it up on me, me (oh no) (I love the way you move it, girl, uh)

For your ears only
Haha
Blizzyblade
Uh
Hits Only, No Mrs
Yeah
Werey

Put It On Me by Blade Escobar

Babygirl
It’s Another One
Blizzyblade
Yeah
Oh oh oh oh (yeah yeah)
Yeah
Oh oh yeah (babygirl)
Yeah

The way you looking at me girl
The way you looking at me
Make me wanna put it in
The way you put it on me girl
The way you put it on me
Got me leaving her on read
The way you pushing on me girl
The way you push it on me
You gon’ end up with a kid
The way you put it on me girl
The way you put it on me
Make a nigga wanna ditch all my bitches
Wind for me baby (yeah)
Wind for me (yeah)
Grind on me baby
Climb on me baby (yeah yeah)
Ride on me
Grind on me girl
Cuz I’ve missed you
And I need you
When I’m with you
All you need do
Yeah

Grind for me baby
Wind for me
Wind for me baby
Climb on me baby (yeah)
Grind on me (yeah)
Grind on me girl
Cuz I’ve missed you
And I need you
When I’m with you
All you need do

Ahhhh
Funmi òpòlò, wa jókó
Ma se ólódó tón ràbàtà
See the kòkòrò, wá rì bá yì
Wá j’òkó jé sé ta ta ta
Funmi òpòlò, wa jókó
Ma se ólódó tón ràbàtà
See the kòkòrò, má sí mmmm
Wá j’òkó jé sé ta ta ta

Funmi òpòlò, wa jókó
Ma se ólódó tón ràbàtà
See the kòkòrò, wá rì bá yì
Wá j’òkó jé sé ta ta ta
Funmi òpòlò, wa jókó
Ma se ólódó tón ràbàtà
See the kòkòrò, má sí mmmm
Wá j’òkó jé sé ta ta ta

Yeah
Baby looking at me
Babygirl, the way you looking at me
Like you bout to steal a nigga heart, shawty Gon be crookin’ on me
So soft, put the cushion on me
So hard when she pushing on me
I be chooking on it
So wet my d be choking on it
Water falls when I’m stroking on it
Now I’m stroking in it
The house turn a battlefield

In the bathroom
Boom boom boom boom boom
In the bedroom
Boom boom boom boom boom
In the kitchen
Boom boom boom boom boom
Cuz I’m cooking that
Pum pum pum pum pum
In the living room
Boom boom boom boom boom
‘Cuz I live in that
Pum pum pum pum pum
In the balcony
Boom boom boom boom boom
On the staircase
Boom boom boom boom boom
In the shower
Boom boom boom boom boom
When she bending
Boom boom boom boom boom
When she standing
Boom boom boom boom boom
In panties
Boom boom boom boom boom
In public
Boom boom boom boom boom
In private
Boom boom boom boom boom
At the door post
Boom boom boom boom boom
On the sofa
Boom boom boom boom boom

Ahhh

Funmi òpòlò, wa jókó
Ma se ólódó tón ràbàtà
See the kòkòrò, wá rì bá yì
Wá j’òkó jé sé ta ta ta
Funmi òpòlò, wa jókó
Ma se ólódó tón ràbàtà
See the kòkòrò, má sí mmmm
Wá j’òkó jé sé ta ta ta

Funmi òpòlò, wa jókó
Ma se ólódó tón ràbàtà
See the kòkòrò, wá rì bá yì
Wá j’òkó jé sé ta ta ta
Funmi òpòlò, wa jókó
Ma se ólódó tón ràbàtà
See the kòkòrò, má sí mmmm
Wá j’òkó jé sé ta ta ta

Oh wow
So this is what you’ve been doing?
You didn’t pick the fucking call?
Like literally, you’ve got to be fucking kidding me right now nigga
Oh shit
Oh shit
All you men are scum
Like all of you literally are scum
So because I used you to cheat on my boyfriend, you’re using her to cheat on me too?
This shit is messy, nigga

A Satisfying Outro by Blade Escobar

Uh
Uh
Yeah
Uh
Yeah
Uh
Look

Gold halo floating over my head
Horns popping out my eyebrows
Megan Good’s face, the flow is highbrow
You Lil’ Bow Wow, I’m Top Dog, I feel like Anthony Tiffith
My last tape put me in the top four like Em, Biggie and Weezy
The Rushmore of the game
It’s best y’all niggas plead the fifth
Cause y’all bars and bucks got way too much in common, they all slim
Imaginary glocks is what y’all sling
Nothin’ to the tables what y’all bring
Except a couple fables bout y’all slingin’
Funded by these labels, now y’all fiening for sermons from your favorite false prophets
Now your soul beyond redemption as they make their false profits
Na office they open for your head
Your lot herds with your mentality
It’s insanity to me how in this day and age, you lot refuse to see they want the Black Man as a casualty
To the gun of his own brother
The generational curse repeats itself because his own mother
Only had herself and her God to rely on
To raise this man in these projects that’s home to wolves and lions
You either get
Shot by the opps or get shot by the cops
But the odds against you are more staggering
If you’re influenced by a fake gangster rapper who’s achieved nothing but increased the mortality rate in vivid imagination
The opps imaginary
The bodies imaginary
‘Cause how the fuck we still got all that space in the cemetery?
Too many self acclaimed GOATs, it’s Cap like January
Your flow wouldn’t hold water if you was born in February
So march along
March along or be devoured
‘Cause if we was both Pisces, I promise you’d be a flounder
And me a killer whale
Decimate he who is to you a killer on the mic and now that nigga pale
I’m unfazed
I grab the bull by the horn, Taurus
A nigga eye on the dollar, sometimes I feel like I’m Horus
A couple little wins the year prior
A nigga started ballin though far from having it all, I’m in a better place
A wordsmith who never got jaded through the hurdles
Held tight like a girdle
A king who transcended to a god in high places
Outer space undoubtedly the place my head is
I’m clearing up my shelf for where I’m trying to place my Headies
I’m floating in space and even if I drown, nigga, I’ll be sinking in the clouds, floating where the highest ave is
Uh
Flow cold, I can make it snow in hell, nigga
Throw me stones, amma turn it all to hail, nigga
Uh
I’m not woke, I’m awake, nigga
Fuck the fact that I’m broke, these bars will break niggas
Next I’m tryna go gold, Shabba the ranks on my neck and wrist
Go number one, scatter the ranks on the charts
Fuck your best rapper chatter, I’ll tamba my ass with your tracks
Then I get my account to scatter the bank
I’m tryna be the black Bill Gates before I see the Pearly Gates
Without funding no Big Pharma or funding them big farmers of viruses
Let me hold my peace there
But why the fuck is Dr. Sebi deceased here?
I guess we’ll never know
Back to the flow
Wrestle with the god, you finna have your back to the floor
The next rated, your faves hate it
The Blade one of the greats, just peep the sage cadence
Celestial bodies align soon as the blade playing
If God had Spotify, I’d dominate His playlist
I’m ever blazing for real
One of a kind, I’m hardcore but still give you
Hits only, No Mrs, and I did it single handed
Bitch

Yeah
Yeah I did it single handed
No diamonds on my ring finger
For real, get it?
I did it single handed
Blizzy Blade, you know what it is
Las Gidi, West Side repping all day, my nigga.

Let me see your hands in the sky
Y’all rap bitches.

Gatekeepers.

Give praise to the rap god one time, nigga.

Top 4 dead or alive, motherfucker, I said my shit, man, get at me, nigga.

Hits Only, No Mrs

BLAH!!!

Blade, I’ve changed my mind, I still have that deal for you

To be continued….

Listen to the full EP; click here.

From major album campaigns to emerging acts and international collaborations, Nigerian and Afrobeats linked recordings are appearing in reports about submissions for the 69th Grammy Awards. Here is what is known about the projects, the categories they are targeting and what happens next.

Nigerian music is once again generating conversation ahead of the Grammy Awards, with reports of submissions from some of the country’s biggest stars and a growing number of artists whose work reflects the diversity of its contemporary music scene.

Ayra Starr, Tems, Davido, Asake and Seun Kuti are among the established names whose reported entries span multiple categories, from Album of the Year and Record of the Year to Best African Music Performance. More recent reports have brought Victony and NO11 into the conversation, while a reported submission involving Colombian superstar Shakira and Nigerian singer Burna Boy has added an international dimension to the story.

However, an important distinction must be made: submission for Grammy consideration is not the same as a Grammy nomination. The entries discussed here come from music-industry reporting, label announcements and social media accounts tracking the awards season. They are not an official list of nominees, and the full set of individual submissions has not been independently verified.

With first round voting scheduled for October 12–22, 2026, and the nominations announcement set for November 16, the coming weeks will determine which recordings advance to the official nominee list.

The Grammy Awards are administered by the Recording Academy, which operates a formal process for receiving entries, reviewing eligibility, determining category placement and selecting nominees and winners. A submission is the initial step in that process, not an indication that a nomination has been secured.

For the 69th Annual Grammy Awards, the eligibility period covers recordings and other qualifying works released between August 31, 2025, and August 28, 2026. The official Online Entry Process ran from July 7 to August 21, 2026.

Only eligible Recording Academy members and registered media companies could submit entries during that window. Once submissions closed, the Academy’s Awards staff began reviewing entries for eligibility, while genre-based screening committees assess whether recordings have been placed in the appropriate categories.

The entries that pass the required review proceed to the official first-round ballot. Voting members of the Recording Academy then determine the nominees, with a separate final voting round selecting the winners.

The Academy’s published schedule places the nominations announcement on November 16, 2026, and the awards ceremony on February 7, 2027, in Los Angeles.

Ayra Starr Leads a Wide-Ranging Reported Campaign

Ayra Starr is among the Nigerian artists attracting attention for the breadth of her reported submissions, which cover her album, solo recordings and international collaborations.

According to reports, her album Starrgirl has been submitted for consideration in Album of the Year, Best Global Music Album, Best Engineered Album and Best Album Cover.

Her reported individual entries extend into several other fields. “Heaven Baby”, her collaboration with Zayn, is linked to Record of the Year, Song of the Year and Best Pop Duo/Group Performance. “Who’s Dat Girl”, featuring Rema, is targeting Best Global Music Performance.

Several other collaborations are associated with Best African Music Performance, including “Ms. Paper” with Theodora, “Aye Kan (Are You Coming Back?)” with Angélique Kidjo, “Le Show” with Davido and French Montana, and “Show Me” with Latto.

“Tornado” is in consideration for Best Music Video, while “Wo Man – Edit”, featuring Peggy Gou, is linked to Best Dance Pop Recording.

Tems Targets Album, R&B and Collaborative Categories

Tems is another major Nigerian name appearing prominently in the reported submission lists.

Her album Love Is a Kingdom is reportedly targeting Album of the Year, Best Global Music Album, Best Engineered Album and Best Album Cover.

Her individual recordings and collaborations have also been linked to several categories. “What You Need” is in connection with Record of the Year, Song of the Year, Best R&B Solo Performance and Best R&B Song, with some reports also listing Best Music Video.

“Raindance”, featuring British rapper Dave, has attracted attention for its reported placements across major recording, songwriting and rap-related categories.

“Big Daddy” is targeting Best African Music Performance, while “I Think You’re Special”, her collaboration with Justin Bieber, is linked to Best R&B Duo/Group Performance.

Davido Puts Forward Oriadé and Multiple Singles

Davido’s reported submissions include his album Oriadé and several individual recordings, making him another of the Nigerian artists seeking recognition across multiple categories.

The singer entered his album alongside several songs through the Grammy submission process. The album is in consideration for Album of the Year, Best Global Music Album, Best Engineered Album (Non-Classical) and Best Album Cover.

“B4 B4”, featuring Mayorkun and FOLA, is linked to Record of the Year, Song of the Year and Best African Music Performance. “Nakupenda”, involving TxC, Zlatan, Shoday, Scotts Maphuma and Al Xapo, is targeting Song of the Year and Best African Music Performance.

“Le Show”, featuring Ayra Starr and French Montana, is also associated with Best African Music Performance. Another entry, “I Know Who I Be”, with JAZZWRLD and GL_Ceejay, is linked to Best Music Video.

Asake Targets Album and Song Recognition

Asake is also among the artists whose reported submissions have attracted attention in the run-up to the nominations announcement.

According to his label, Giran Republic the singer has four entries spanning his album and individual recordings.
His album M$NEY is linked to Album of the Year and Best Global Music Album.

“Gratitude” is targeting Record of the Year, Song of the Year and Best African Music Performance. “Jogodo”, his collaboration with Wizkid, is linked to Best African Music Performance, while “Worship”, featuring French DJ and producer DJ Snake, is targeting Best Dance Pop Recording.

Asake has previously received Grammy nominations for “Amapiano”, with Olamide, and “MMS”, featuring Wizkid. The reported 2027 entries provide another opportunity for his work to seek recognition from the Academy.

Seun Kuti Brings the Afrobeat Tradition

While much of the attention surrounding the Grammy season centres on contemporary Afrobeats, Seun Kuti’s reported entries highlight a different but equally important strand of Nigerian musical history.

According to Pulse Nigeria, Seun has submitted “Na Dem” and “Problems” for consideration in Best African Music Performance.

Seun’s reported entries stand alongside the contemporary pop and Afrobeats recordings in this year’s discussion, demonstrating the range of Nigerian music seeking international recognition.

Victony Enters the Conversation With Starlife and “Slick”

Recent reports circulating within Nigerian music communities have added Victony to the growing list of artists reportedly seeking consideration for the 2027 awards.

According to information shared by Streamdorm, Victony is reportedly linked to Best New Artist, while his sophomore album Starlife is associated with Album of the Year and Best Global Music Album.

His song “Slick” is also targeting Record of the Year, Song of the Year and Best African Music Performance.

VICTONY’S SUBMISSIONS FOR THE 2027 GRAMMYs

BEST NEW ARTIST

💿 STARLIFE
▫️ Album of the Year
▫️ Best Global Music Album

🎵 SLICK
▫️ Record of the Year
▫️ Song of the Year
▫️ Best African Music Performance pic.twitter.com/HMFeLQ624X

— Music on Streamdorm 🎧 (@Streamdorm) October 13, 2026

NO11’s Reported Entry: “How Far”

Another name appearing in recent social media discussions is NO11, also styled No11 or No. 11. Reports associate the act with “How Far”, a recording referenced alongside Monochrome and, in some accounts, Ayjay Bobo.
The track is reportedly linked to Best African Music Performance.

NO11 submits “HOW FAR” (with Monochrome) for GRAMMYs consideration in the Best African Music Performance category. 🏆 pic.twitter.com/rkGXNnew3p

— Music on Streamdorm 🎧 (@Streamdorm) October 12, 2026

Shakira and Burna Boy: An International Collaboration

One of the most notable international developments in the reported submissions is “Dai Dai”, a collaboration between Colombian pop star Shakira and Nigerian singer Burna Boy.

Reports circulating on social media link the track to Record of the Year, Song of the Year, Best Global Music Performance and Best Music Video.

Other new submissions will be updated.

Angélique Kidjo submits multiple entries for GRAMMYs consideration.

“HOPE!” – Album of the Year, Best Global Music Album
“Bando” – Record of the Year, Song of the Year, Best Global Music Performance, Best Music Video
“Aye Kan” (feat. Ayra Starr) – Best African Music Performance pic.twitter.com/tJEMqV511u

— Music on Streamdorm 🎧 (@Streamdorm) October 11, 2026