celebrity radar - gossips
Life And Times Of Pop Legend Roger Whittaker As Germans Mourn His Demise
Life And Times Of Pop Legend Roger Whittaker As Germans Mourn His Demise
The singer Roger Whittaker (“Albany”) is dead. He died on September 13th at the age of 87, as his record company Sony Music announced to the German Press Agency on Monday. The “Bild” newspaper had previously reported on it.
Whittaker had been living in seclusion for years
Anyone who grew up in the 1970s and 80s heard Roger Whittaker’s music – whether voluntarily or involuntarily. His songs were played by his parents or grandparents. The British singer with the gentle baritone voice was often a guest on the ZDF hit parade and other TV entertainment shows. Feel-good hits and catchy ballads – some say tearjerkers – were his forte. Whittaker sold millions of records not only in Germany. Now he has died.
“Farewell is a sharp sword that often cuts deep into your heart,” says one of his biggest hits. “Someday the best time will come to an end, ooh ooh.” And so Whittaker withdrew from the public years ago. “Unfortunately, Roger has completely retired and is no longer giving interviews,” wrote his agent in response to a request from the German Press Agency on the singer’s 85th birthday in 2021.
Studies financed with performances in clubs and pubs
At the beginning of the 1960s, the musical career of the trained zoologist, marine biologist and biochemist took off. The son of English immigrants was born in 1936 in Nairobi in what was then the British colony of Kenya. After military service, dropping out of medical school in Cape Town and a temporary job as a teacher in Nairobi, Whittaker moved to Europe. He completed a second course of study in Wales with a Bachelor of Science.
He financed his studies by performing as a singer in clubs and pubs – and also composed his own songs. So one thing led to another. In 1962 he recorded his first single “The Charge Of The Light Brigade”, a pompous country number. The musician only found his own style, with which he enjoyed worldwide success, at the end of the 1960s.
Whittaker’s most prominent fan: US President Bush
According to Whittaker, beard growth also played a role. “Early in my career I saw myself on television and thought: This face won’t work,” he told the Daily Express years ago. “So I grew the beard back that I had in university.” Still, he never looked like a pop star. With a Henriquatre beard, jacket, glasses and hair that had turned gray since the 80s, he looked like the friendly man next door – a likeable and authentic image that matched his music.
The all-whistled instrumental number “Mexican Whistler” was his first hit in the UK in 1967. The ballad “Durham Town” marked the big breakthrough two years later. Songs like “The Last Farewell” or “Indian Lady” soon made Roger Whittaker popular in other countries. His most prominent fan was former US President George HW Bush, who invited him to his house and sang at his golden wedding anniversary.
African influences in Whittaker’s music
One of Whittaker’s biggest hits, “The Last Farewell”, only became a success four years after its release. After the song made it onto American radio and the US top 20 in 1975, it also became a huge success in Europe. In the UK it reached number 2 on the charts, just behind Rod Stewart’s “Sailing”. Later even Elvis Presley recorded “The Last Farewell”.
Here and there, Whittaker’s music contained the African influences that he had absorbed during his youth in Nairobi. “The beautiful drumming and those wonderful, infectious rhythms have been a major influence in everything I’ve ever written and sung,” Whittaker was quoted as saying on his website.
Huge Whittaker fan base in Germany
He had his most loyal fan base in Germany. He therefore recorded many songs in German using phonetic transcription, although he had to struggle with the umlauts. “The worst German word is tenderness,” joked the songwriter in a 2012 “BamS” interview. “So purely phonetically, of course.” His greatest successes include “Albany” and “Farewell is a Sharp Sword”, which were written by the composer and producer Klaus Munro.
From the 80s onwards, Whittaker’s style increasingly shifted to German hits – stylistically somewhere between the Flippers and Howard Carpendale. In 1986 he sang: “I need a little aroma, a little Paloma, a little chichi today, Chérie!” Whittaker released dozens of albums in Germany. For his life’s work, the British gentleman of the German hit was honored with the “Platinum Tuning Fork” and the “Crown of Folk Music”.
Roger Whittaker also lived up to his friendly image in his private life. The family man and dog fan had been married to his wife Natalie since 1964, who later also became his manager. The couple has five children, several grandchildren and great-grandchildren. After living in Ireland for a long time, the Whittakers moved to the south of France in 2012 – for the warmer weather, of course.
celebrity radar - gossips
PRESIDENT TINUBU CONGRATULATES OTEGA OGRA ON ELECTION TO WORLD FEDERATION OF ADVERTISERS EXECUTIVE COMMITTEE
PRESIDENT TINUBU CONGRATULATES OTEGA OGRA ON ELECTION TO WORLD FEDERATION OF ADVERTISERS EXECUTIVE COMMITTEE
President Bola Ahmed Tinubu has congratulated his Senior Special Assistant on Digital Engagement, Strategy and New Media, Mr Otega Ogra, on his election to the Executive Committee of the World Federation of Advertisers (WFA).
The election took place today at the organisation’s Annual General Meeting, held during the Global Marketing Week Conference in Stockholm, Sweden.
President Tinubu described the development as a significant step for Nigeria’s growing influence in global communications.
He noted that Mr Ogra’s emergence as the only representative from West Africa and Sub-Saharan Africa on the Executive Committee reflects the depth of Nigerian expertise and the contribution of a new generation of young Nigerian professionals to global industry standards.
Mr Ogra was elected to the Executive Committee on the platform of the Advertisers Association of Nigeria (ADVAN), underscoring the role of Nigeria’s organised advertising and marketing industry in shaping representation at the global level.
The WFA is the leading global body for advertisers, representing over 150 multinational and Fortune 500 companies, alongside national advertiser associations across more than 60 countries, with a combined annual marketing spend running into hundreds of billions of dollars. Its Executive Committee is the organisation’s highest decision-making body, responsible for setting priorities and guiding global policy on responsible advertising, media transparency, sustainability, and the evolution of digital ecosystems.
President Tinubu noted that Mr Ogra’s election is both a personal distinction and a strategic opportunity for Nigeria and the African continent, placing them at the centre of global conversations on brand trust, platform accountability, innovation and the future of marketing and communications.
The President commended Mr Ogra, who also serves as Vice President of ADVAN, for his sustained contributions to strengthening Nigeria’s marketing and communications ecosystem, drawing on a career spanning leadership roles across the banking, manufacturing, and public sectors.
“Otega’s election reflects the growing recognition of Nigerian expertise and affirms our capacity to contribute meaningfully to the frameworks shaping global markets,” the President said.
President Tinubu added that the achievement aligns with his administration’s Renewed Hope Agenda, particularly in advancing the creative economy, strengthening digital governance, and positioning Nigeria as a competitive hub for innovation and enterprise.
Josh Faulks, CEO of the Australian advertiser association (AANA), and Simon Michaelides, Director General of the UK advertiser association (ISBA), also join the leadership team.
Current members of the executive committee, David Wheldon, President and Philip Myers, Deputy President, who is also the Chief Institutional Affairs and Corporate Communications Officer at Ferrero, continue in their current roles, as do all regional vice presidents.
celebrity radar - gossips
Hold Peter Okoye Responsible If Any Harm Comes To Our Member – NASRE Fires Back At Singer
Hold Peter Okoye Responsible If Any Harm Comes To Our Member – NASRE Fires Back At Singer
The Nigerian Association of Social and Resourceful Editors (NASRE) has raised alarm over an alleged threat by Afrobeat artist Peter Okoye (Mr P) against journalist and NASRE Directorate member, Mr Bayo Adetu, warning that the singer will be held responsible should any harm come to the journalist or his family.
In a press statement issued on April 20, 2026, NASRE’s leadership, led by Comrade Femi Oyewale, expressed concern over the incident reportedly occurring at the Ikoyi High Court during proceedings in the ongoing legal dispute involving P-Square and their elder brother, Jude Okoye.
NASRE views the alleged statement as inappropriate and unacceptable, stating that any language suggesting intimidation against a journalist performing lawful duties raises serious concerns about press freedom, safety, and professional ethics.
The association has therefore called on Mr Peter Okoye to retract the alleged statement and issue a public apology to Mr Bayo Adetu, while also urging all parties involved in the ongoing legal matter to conduct themselves with restraint, respect, and strict adherence to the rule of law.
Read the statement below:
PRESS STATEMENT
For Immediate Release
NASRE RAISES ALARM OVER ALLEGED THREAT BY PETER OKOYE (MR P) AGAINST BAYO ADETU IN COURT, WARNS OF CONSEQUENCES
The leadership of the Nigerian Association of Social and Resourceful Editors (NASRE), led by Comrade Femi Oyewale, expresses concern over an alleged threat issued by popular Afrobeat artist Peter Okoye, widely known as Mr P, against journalist and NASRE Directorate member, Mr Bayo Adetu.
The incident reportedly occurred at the Ikoyi High Court during proceedings in the ongoing legal dispute involving the music duo P-Square and their elder brother, Jude Okoye. Eyewitnesses present in court stated that Mr Peter Okoye drew the attention of Justice Alexander Owoeye to Mr Adetu’s presence, noting that he was formerly P-Square’s publicist but now works with his brothers. The remark reportedly generated reactions in the courtroom.
It is further alleged that after the court session, Mr Peter Okoye confronted Mr Adetu in the presence of others and said, “You, Bayo, I will set you up.”
NASRE views this alleged statement as inappropriate and unacceptable. Any language suggesting harm or intimidation directed at a journalist performing lawful duties raises serious concerns regarding press freedom, safety, and professional ethics.
We state unequivocally that should anything happen to Mr Bayo Adetu or any member of his family, Mr Peter Okoye will be held accountable. Such statements, when directed at a media professional, are taken with utmost seriousness.
NASRE will not tolerate any form of intimidation, harassment, or threat against its members. We are fully prepared to activate all lawful media and legal channels to protect our members and safeguard the integrity of the profession. Mr Peter Okoye must be aware that utterances of this nature carry consequences and he will be held responsible for any outcome arising from this matter.
We therefore call on Mr Peter Okoye to retract the alleged statement and issue a public apology to Mr Bayo Adetu. We also urge all parties involved in the ongoing matter to conduct themselves with restraint, respect, and strict adherence to the rule of law.
The safety of journalists remains paramount, and the media will not be silenced.
Signed:
Lateef Owodunni
Media Director, NASRE
April 20, 2026
celebrity radar - gossips
Fuji Star, Saheed Osupa Addresses Prado Controversy, Says Vehicle Was Compensation — Not Political Gift
Fuji Star, Saheed Osupa Addresses Prado Controversy, Says Vehicle Was Compensation — Not Political Gift
By Alhaji Arems (Baba Fuji)
Nigerian Fuji star Saheed Osupa has responded to a wave of political controversy surrounding his recent campaign appearance in Oyo State, clarifying that a vehicle linked to the debate was not a political gift but compensation tied to a professional engagement.
The backlash followed the circulation of a Facebook Reel showing Osupa performing at an event associated with Sharafadeen Alli, who has declared interest in the Oyo State governorship under the All Progressives Congress (APC). As the video gained traction, it sparked renewed scrutiny over entertainers’ roles in political campaigns and the assumptions that often follow such appearances.
Amid the reactions, individuals aligned with the Peoples Democratic Party (PDP) circulated claims on social media alleging that Osupa, alongside gospel artist Yinka Ayefele, had previously received luxury vehicles from the administration of Oyo State Governor Seyi Makinde. The claims, which remain unverified, framed the alleged gesture as an example of questionable public spending and raised concerns about political loyalty.
Osupa has since pushed back against that narrative, offering a different account of events. In a video statement, the artist explained that his involvement in the campaign was strictly professional, based on a negotiated performance agreement rather than any form of political alignment.
According to him, he was engaged to perform at campaign events with assurances that he would be adequately compensated after the election. He, however, alleged that those commitments were not fulfilled following the electoral victory.
Addressing the controversy surrounding the vehicle, Osupa stated that his personal car was damaged during the course of the campaign. He said the replacement vehicle later provided to him was intended as compensation for that loss, not a discretionary gift or political reward.
His response reframes the discussion from one of political patronage to a dispute over professional obligations—an important distinction in an environment where entertainers are frequently enlisted to support campaign visibility.
The episode highlights a recurring tension within Nigeria’s political landscape: the blurred line between performance and perceived allegiance. For artists, participation in campaign activities can quickly shift from paid engagement to public endorsement in the eyes of observers, particularly when details of such arrangements are not clearly communicated.
Osupa’s clarification brings that tension into focus, underscoring how easily professional engagements can be recast within political narratives. As conversations continue, the situation points to a broader need for transparency in the relationship between public figures and political actors—especially in moments where perception can carry as much weight as fact.
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