Popular Afrobeat songstress, Tiwa Savage has announced separation from her manager, Mekka Millions.

The musician made the announcement on Saturday evening in a series of posts on her Instagram story.

While warning the public and show promoters to stop contacting Mekka Millions for booking, Tiwa noted that she will not be liable for any financial loss transactions made through him.

READ ALSO:Tiwa Savage Inspires Fans With Honesty, Strength As A Single Mother

She further announced Vanessa Amadi as her new manager.

“I do not work with Mekka anymore. Please for booking contact Vanessa Amadi. Any bookings that go through any other channel will be void, and you will lose your money”.

This came 11 years after Mekka took over Tiwa’s managerial duties from the singer’s ex-husband, Tee Billz.

As the beef between controversial singer, Habeeb Okikiola, popularly known as Portable, and self-styled activist, Martins Otse, aka VeryDarkMan, continues to escalate, the former has now challenged the latter to a street brawl.

The duo feud started when Portable called out VeryDarkMan for constantly criticising President Bola Ahmed Tinubu over the economic hardship in the country.

He also claimed that VDM was allegedly using the late singer Mohbad’s tragic death to gain popularity.

READ ALSO:VIDEO: Portable Reports Verydarkman To Shrine, Native Doctor Amid Allegations Of Theft

VeryDarkMan swiftly responded with a diss track entitled, ‘Ole,’ wherein he referenced Portable’s past allegations of stealing a tricycle and phones, and how he was arrested by the police.

Portable also replied with his own diss track and since then, the duo have been going back and forth at each other.

In a recent video broadcast, the Zazu crooner said he wants to settle his beef with VeryDarkMan in a brawl.

READ ALSO:VIDEO: VeryDarkMan Fires Back At Portable In Latest Diss Track

He explained that he doesn’t want a boxing match with VDM but a street fight.

“People have been tagging me and asking for a boxing match between me and VeryDarkMan. Who will box with that fool? If he wants to fight with me, let him come to the street. I’m a street fighter. I don’t want boxing match because we will be mandated to wear protective gears. But it’s in the streets, you can even fight with planks. I want us to settle this with a street fight not boxing, let’s see who will win,” he said.

VeryDarkMan is yet to react to Portable’s public challenge for a street fight.

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15 years after his death, the legacy of Oladapo Olaitan Olaonipekun, popularly known as Dagrin, continues to blaze a trail through Nigerian music history.

The Recording Academy, body behind the GRAMMY Awards, has named his breakout hit “Pon Pon Pon” among the top 10 songs shaping the evolution of Afrobeats globally.

This distinction elevates “Pon Pon Pon” as the only rap song on the list, affirming what fans and music historians have long known: Dagrin’s 2009 street anthem was not just a hit, but a seismic shift that redefined the landscape of Nigerian music.

From gritty beats to raw Yoruba lyricism, the track remains a cultural timestamp, capturing the chaos, vibrancy, and rhythm of Lagos life with unmatched precision.

READ ALSO:Full List Of Winners At 2025 Grammy Awards

“Pon Pon Pon” introduced a generation to the authenticity of indigenous rap. At a time when the Nigerian mainstream was dominated by pop melodies and foreign influences, Dagrin forced the industry to reckon with the language and reality of the streets.

His embrace of Yoruba slang and storytelling became a blueprint for future stars who now dominate Afrobeats and Nigerian hip-hop.

Beyond the music itself, the journey to preserve Dagrin’s legacy has involved extensive behind-the-scenes work—most notably by Digital Music Commerce and Exchange Limited (DMCE), a full-service rights management and music licensing company.

Under the leadership of General Manager Ezekiel Olayinka, DMCE has been instrumental in reclaiming and protecting Dagrin’s musical catalog from years of exploitation and mismanagement.

READ ALSO:Fans Divided Over Davido, Wizkid, Burna Boy’s Grammy Nominations

After his death in April 2010, Dagrin’s intellectual property was scattered and largely unmanaged. DMCE stepped in, obtained a letter of administration from the Lagos State Probate Registry, and worked closely with the rapper’s family to ensure proper ownership and legal control over his body of work. In less than a year, the company secured the rights, cleaned up unauthorized usage, and began to rebuild the foundation for his posthumous musical legacy.

Taking this effort a step further, DMCE brokered a strategic partnership between Dagrin’s estate and Sony Music Publishing Nigeria—one of the world’s biggest music publishing entities.

This milestone deal not only reintroduced Dagrin to the international music ecosystem but also underscored the global relevance of his art.

In August 2024, Sony Music Publishing Nigeria hosted the “Legend Sampling Camp,” a pioneering creative event that brought top producers and artists together to reimagine the works of Nigerian legends.

READ ALSO:[JUST IN] FULL LIST: Tems, Wizkid, Burna Boy, Davido Make 2025 Grammy Nominations

Alongside Dagrin’s music, samples from Fuji icons K1 De Ultimate, King Dr. Saheed Osupa, and the Late Chief Dr. Sikiru Ayinde Barrister (MFR) were reinterpreted. All these musical estates are represented by DMCE, signifying a broader mission to protect and celebrate indigenous sonic heritage.

While The Recording Academy’s recent accolade shines a global spotlight on Dagrin’s contribution to Afrobeats, it is the tireless work of stakeholders like DMCE and his family that ensures his voice remains heard.

Their commitment has ensured that “Pon Pon Pon” is not just a relic of the past, but a living influence—still sampled, streamed, and celebrated by a new generation.

Dagrin’s music endures because it resonates deeply with Nigeria’s heartbeat—the hustle, the hope, and the harsh truths. The GRAMMY nod affirms his pioneering status, but it is the sustained cultural relevance of “Pon Pon Pon” that crowns him the undisputed king of Afro-Street Rap.
(TRIBUNE)