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The Weeknd sued for stealing hit song “Star boy” from another artiste

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The weekend

American singer The Weeknd and his producers Daft Punk are being sued over his hit song “Starboy” by a fellow songwriter who claims they ripped her off.

According to a report, the songwriter who is a Somali-American poet named Yasmin “Yasmina” Mohamed is suing the 28-year-old and the song’s producers, Daft Punk, for ‘at least $5million’, claiming her song Hooyo is the blueprint for ‘Starboy,’

The self-described ‘activist’ released her track in 2009, seven years before The Weeknd’s chart-topper



Mohamed says The Weeknd became familiar with the song because it was popular with the “East African diaspora of which The Weekend is connected.

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To prove it, she cited a Twitter post by the singer, whose real name is Abel Makkonen Tesfaye, talking about missing “my Somalian goons.”

Starboy’s hook is a virtually identical copy of Hooyo’s hook. The material repeats every two measures during Starboy’s eight-measure verse,” Mohamed’s lawsuit claims.

Mohamed is also suing her own record label, The Squad, and producers William Uschold and Tyrone Dangerfeild, saying they settled with The Weeknd over “Yooho” — and then cut her out of the deal.

According to Yasminah,  both tracks feature the ‘same hook, same key, similar tempo and both songs feature prominent claps on beats 2 and 4’.

The Weeknd’s ‘Starboy’ which was an instant hit after it was released has sold more than 6million copies in the US alone.  

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Rebel Wilson loses bid to keep most defamation payout appeal

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Hollywood actress Rebel Wilson on Friday said she was proud to “stand up to a bully” despite losing a bid to reinstate a multi-million-dollar defamation payout from an Australian publisher.



The “Pitch Perfect” star was awarded Aus $4.5 million (US$3.3 million) in damages against Bauer Media last year over articles claiming she lied about her age and background to further her career.

It was the largest defamation penalty in Australian legal history and drew criticism from across the country’s publishing industry, which said it set a dangerous precedent.

Bauer appealed the award and a court earlier this year ordered Wilson to return Aus$4.1 million of the damages.

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Wilson, who said she had missed out on lucrative roles as a result of the Bauer articles, applied to the High Court to appeal the decision.

The application was rejected by the court at Friday’s hearing in Canberra as Wilson watched from the public gallery.

Outside the court, the Australian star told reporters “the whole reason for bringing this case is that I really wanted to stand up to a bully, which was Bauer Media”.

“And I’m so proud of myself that I did that, and saw it out right to the bitter end.”

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France to Sign Film Production, Distribution Agreement with Nigeria

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Plans for a mutually beneficial working relationship in film production and distribution between Nigeria and France have reached an advanced stage.




This was disclosed at the French Day Roundtable — one of the industry sessions at the ongoing Africa International Film Festival (AFRIFF).

Delegates from France and Nigerian filmmakers rubbed minds on how well they could leverage on several French platforms to distribute Nollywood films in France.

Though details of the treaty are being fine-tuned, however, Eric Garandeau, a former president of the French Government National Centre for Cinema and Moving Image (CNC), said that France is very open to co-productions with Nigeria.

With the over 5,000 screens available in the country, he noted that Nollywood films can be accommodated.

He pointed out that filmmakers must pay attention to the kind of stories they are telling, adding that: “Imagine the most original story with universal appeal that is rooted in culture. It is important that they tell a story that reflects your culture and has a universal appeal. You should never be shy of your culture; express it.”

Renowned filmmaker, Kunle Afolayan, who shared similar thoughts, told the audience how he was inspired to explore other shores after witnessing a film festival in France.

This, he said, led to the sponsorship of his ‘The CEO’ film by two French multinationals: Air France and Peugeot.

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He encouraged young filmmakers to think or dream same, while ensuring that whatever project they are working on meets the standards.

“We have to meet the standards to put this movie on the available platforms,” he said.

It was generally accepted that international co-production is a good step in the right direction to promote Nollywood films.

Afolayan disclosed that he was already working on a film based on a book by Kenya’s prolific author Ngugi wa Thiong’O.

“The movie has been in the works since 2016 and it is a co-production of Kenya, South Africa, Congo and Nigeria,” he said.

A French film director Olivier Ayache Vidal, whose film ‘The Teacher’ was also screened, shared same sentiments, though his movie was shot in China.

During the ‘Content Circulation Between France and Nigeria’ session, Francis Nebot advised Nigerian filmmakers to ensure that they make an international version of their films if they aspire to distribute it in France.

He expressed optimism that there is a market for Nollywood films in France but it must meet the standards of the French.

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In Nigeria however leading cinema houses are already acquiring film distribution rights for French films.

Silverbird Film Distribution Company recently signed a distribution deal with Les Film 26, a French production and distribution service company, to release three French films in Nigeria, while Genesis Cinemas will be opening a cinema house in French-speaking country, Cameroon.

Garandeau further urged filmmakers to look for French filmmakers they can collaborate with as well as attend film festivals in France, notably the Cannes Film Festival, and leverage on platforms like the World Cinema Fund which was created to stimulate international co-productions.

When the treaty is signed, Nollywood fillmmakers will be able to apply for grant to make films for audiences in both countries.

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