NOLLYWOOD BUZZ: Internet Rumors Explode as Mimi’s Claims Spark Talk of ‘Dark Energy’ Around Mercy Johnson!”

A major firestorm has erupted within the Nigerian entertainment scene following the release of an explosive and visibly distressed video by actress Mimi Ifeoma Chima, who is currently based in Japan. Mimi Ifeoma has directed severe, allegations of spiritual sabotage, manipulation, and occult involvement against the celebrated Nollywood star, Mercy Johnson. These claims have quickly become the top trending topic across social media, drawing intense and highly mixed reactions from fans and industry observers alike.

Mimi Ifeoma asserted in her widely circulated video that her former colleague, Mercy Johnson, utilized “spiritual means” against her, a situation she attributes to years of severe personal and professional setbacks, which she collectively termed “spiritual stagnation.” She described struggling for an extended period with crippling loss of confidence, emotional distress, and significant career disruption, only recently concluding that the source of her challenges was directly linked to her past, close relationship with Johnson.

The allegations rapidly escalated into claims of dark practices. Mimi Ifeoma shockingly asserted that Mercy Johnson, whom she described as a childhood friend, unknowingly initiated her into Johnson’s mother’s witchcraft coven. She went on to claim that Johnson’s now-deceased mother was widely known in the neighbourhood as a “big witch in the streets.” Mimi alleged that through this spiritual interference, Johnson systematically “used my star and luck,” “took my glory,” and managed to “reign for years” by manipulating her body and fortune. In a particularly bizarre claim, Mimi stated Johnson deliberately “changed my look to her look, took part of my look, reduced my look.” Furthermore, she made intimate claims regarding their past relationship, alleging, “Sometimes we will be in an hotel room, she will have sex with me, do girls to girls thing. As at then I was very young.”

Mimi Ifeoma’s accusations did not stop with Johnson; she mentioned several other prominent figures into the controversy by claiming they were either witnesses or somehow involved. She stated that she tried to seek counsel from the popular actor Kanayo O. Kanayo, who allegedly visited her shop. After hearing her claims, she reports that Kanayo O. Kanayo refused to get involved, stating bluntly that it was a “witch case.” She also called out Tricia Esiegbe, the convener of Bold Faces, alleging that when she revealed to Tricia that Mercy Johnson “used my body and star to shine,” Tricia paused, suggesting to Mimi that “she knew about the story.” In another twist, Mimi mentioned fellow actress Uche Obodo, whom she refers to as a “snake,” claiming that Obodo finally confessed that Johnson was “using my body in Asaba, Delta state.” Mimi further alleged that Uche Obodo herself had been fighting Mercy because she, too, was supposedly “interested in my body as at then.” The actress also referenced members of the Mbonu family, asserting that they were aware of the alleged spiritual events surrounding her situation.

Mimi Ifeoma lamented that her closeness to Johnson, whom she claimed she helped introduce into the industry, became the source of deep personal regret due to what she describes as years of manipulation, psychological pressure, and spiritual harm, including being chased by alleged kidnappers. She credited Cyprain Chukwunta, popularly known as “LOC,” for providing the emotional and spiritual support that empowered her to publicly share her story, which she insisted was a form of liberation. Mimi concluded her video with a distressed plea, emphasizing that she is coming out every day to speak about Mercy Johnson because she desperately seeks “Justice” for the alleged interference with her “destiny.”

As of the current report, Mercy Johnson and the other individuals specifically named, including Kanayo O. Kanayo, Uche Obodo, Tricia Esiegbe, and members of the Mbonu family, have maintained public silence regarding Mimi Ifeoma Chima’s extensive and serious statements..

Nigerians, I went through alot in the hands of Mercy Johnson. I come out everyday to speak about Mercy because I want Justice and I must get it in the name of Jesus

Nigerian Entrepreneur Solomon Lagoke Launches Bloom Recordz to Support Emerging Artists

Lagos, Nigeria — Nigerian entrepreneur, author, and IT consultant Solomon Lagoke has officially unveiled his new music imprint, Bloom Recordz, a platform aimed at nurturing young talent and promoting creativity in the country’s growing entertainment industry.

Lagoke, who hails from Ijebu Ode in Ogun State, said the label was born out of a long-held desire to create opportunities for promising musicians. Speaking about his background, he explained that his values and vision were shaped largely by his mother and extended family, describing his early years as “a pretty normal childhood with strong family influence.”

Before venturing into entertainment, Lagoke worked in technology and authored several books, but his passion for music remained constant. “Music has always been a part of my life,” he said. “Now, entering the entertainment scene is my way of providing talented individuals with the opportunities to thrive.”

According to him, the concept for Bloom Recordz had been in development for about four years. “A friend initially suggested it, and we joked about it, but it stuck with me,” he recounted. “The name Bloom represents growth and the beauty found in music.”

Building a Modern Platform

Lagoke described the label’s vision as one focused on diversity and development. “The goal is to build a global music platform that represents modern artists from across the world,” he noted.

He said Bloom Recordz would emphasize talent discovery, artist development, and digital growth. “We’ll use social media, streaming platforms, and digital campaigns to promote our artists and reach wider audiences,” he said.

When asked about what makes a good artist–label partnership, he highlighted transparency and teamwork. “It’s about mutual respect, clear communication, and shared goals,” Lagoke explained. “Both the label and the artist need to understand each other’s vision.”

Establishing a Structure

He added that the label is assembling a professional team of producers, marketing experts, A&R executives, and legal advisers to ensure a transparent and artist-friendly structure. “We want to provide proper guidance, fair contracts, and career support,” he said.

Although the label has not yet announced its first signees, Lagoke said talks are ongoing with several emerging acts. “We’re actively looking for unique sounds and voices,” he revealed.

Looking Ahead

On the label’s long-term goals, Lagoke said he envisions Bloom Recordz becoming one of Africa’s leading independent record labels within five years. “We want to be recognized for discovering and supporting top talent and promoting ethical standards in the music business,” he said.

He also emphasized his desire to contribute to the growth of the Nigerian and African music industries. “I want to leave a legacy of empowering artists and promoting diverse musical voices,” he added.

Connecting with the Label

[email protected]

Bloom Recordz has opened its communication channels to artists, fans, and potential collaborators. Interested individuals can contact the label via email at bloomrecordz

In his closing remarks, Lagoke encouraged young creatives to remain authentic and consistent. “Stay true to your craft and never stop improving. The industry can be tough, but passion and perseverance always stand out,” he said.

By Peter madojemu naijahitplay

Lord of Music, King Saheed Osupa Tops K1 On Spotify, Signalling A New Era For Fuji Music

Alhaji Arems 

King Dr. Saheed Osupa has quietly pulled off something few expected this year — he has overtaken King Wasiu Ayinde Marshal, popularly known as K1 De Ultimate, to become the most listened-to Fuji artist on Spotify. As of the morning of November 8, 2025, Osupa leads with just over 241,000 monthly listeners, while K1 follows closely with about 237,800. It’s a slim margin, but symbolically powerful — a generational shift within one of Nigeria’s most enduring music traditions.

For decades, K1 has been Fuji’s defining figure — the genre’s global ambassador and the man who refined its street grit into elegant performance art. To see Osupa briefly edge ahead of him online isn’t a dethronement; it’s a reflection of how the Fuji audience is evolving. The streaming world operates by different rules, rewarding consistency, catalog freshness, and algorithmic engagement. In that sense, Osupa’s climb feels less like a surprise and more like a logical outcome of years spent maintaining digital presence while still feeding his grassroots following.

The figures themselves tell a layered story. Osupa’s 241,000 monthly listeners come from a blend of new singles, refreshed catalog tracks, and growing playlist placements — factors that keep his songs circulating far beyond physical markets. K1, on the other hand, has maintained steady streaming numbers rooted in long-term loyalty rather than recent release activity. Both artists command huge audiences offline, but it’s Osupa who seems to have cracked the digital rhythm of modern music discovery.

Adewale Ayuba, the Bonsue Fuji innovator, currently follows with roughly 83,000 monthly listeners, while Pasuma holds around 51,000. Other Fuji stalwarts like Malaika, Obesere, Taye Currency, and Remi Aluko complete a list that reflects Fuji’s layered ecosystem — still deeply Yoruba, still grounded in live performance, but now steadily migrating into the world of playlists, algorithmic radio, and global reach.

Osupa’s rise carries a deeper significance. Fuji was never built for the streaming model — its long tracks, improvisational vocals, and heavy percussion once seemed out of sync with the short attention spans of digital audiences. But the last few years have rewritten that assumption. As listeners explore more Nigerian genres beyond Afrobeats, Fuji’s textures are finding new resonance — both with diaspora audiences longing for roots, and with younger Nigerians rediscovering the classics through social media clips and curated playlists.

K1’s legacy remains unmatched; his innovation is what made the genre visible beyond its original circles. Yet the landscape is changing. Digital visibility now runs on momentum — and Osupa, through steady releases and active online engagement, has mastered the art of staying in rotation. His social clips, live footage, and catalog promotions all feed Spotify’s discovery system, keeping him in the ears of new and returning listeners alike.

Still, this isn’t a rivalry of crowns. It’s a moment that shows Fuji’s continued relevance in an era dominated by Afrobeats and street pop. The data simply proves what the culture already knows: Fuji never left; it just found new speakers. And in 2025, King Dr. Saheed Osupa stands as proof that tradition can thrive in transition — that a sound born in Oyo’s streets can still command the global stream, one listener at a time.