Entertainment
Abiodun Ayoyinka Rebrands as Bondu Alaska Amid Papa Ajasco Identity and Brand Dispute
Abiodun Ayoyinka Rebrands as Bondu Alaska Amid Papa Ajasco Identity and Brand Dispute
Popular Nigerian actor Abiodun Ayoyinka has officially rebranded himself with a new public identity, adopting the stage name Bondu Alaska following growing discussions around his career, finances, and the use of the iconic Papa Ajasco character.
Ayoyinka, widely known for his role in the long-running comedy series Papa Ajasco & Company, announced the change in a video posted on his Instagram page on Saturday, where he introduced himself with confidence under his new name.
“Ladies and Gentlemen, good morning Nigerians. My name is Bondu Alaska. The one and only Bondu Alaska,” he declared in the viral clip.
The actor expressed gratitude to Nigerians for their support, particularly following recent public attention surrounding his personal and professional situation. He stated that he is embracing a fresh phase in his career and remains committed to making a positive impression moving forward.
“I’m a new person now, and I promise that I will not let you down,” he added.
As part of the transition, Ayoyinka has updated his Instagram handle to @bondualaska_ and encouraged fans, collaborators, and brands to connect with him through his new identity, signaling a deliberate move toward personal rebranding in the entertainment industry.
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The development comes amid an ongoing dispute involving Ayoyinka and Wale Adenuga, founder of Wale Adenuga Productions, over the usage and ownership of the Papa Ajasco brand, which has become a widely recognized intellectual property in Nigerian television.
Earlier comments made by Ayoyinka about financial hardship generated public debate, prompting Adenuga to respond by describing the claims as misleading. He maintained that the actor had benefited from his involvement in the production over the years, including access to support and resources.
Adenuga further explained that while the Papa Ajasco brand is protected to maintain its integrity, actors associated with it are free to pursue independent projects, provided they do not misuse the brand or infringe on its intellectual property.
Despite the rebranding, many fans continue to associate Ayoyinka strongly with his iconic Papa Ajasco persona, a character that has played a significant role in shaping his popularity across Nigeria and beyond. Reactions on social media reflect a mix of nostalgia, support, and humor, with some users insisting that the actor will always be identified with the character.
The move highlights broader themes in the entertainment industry, particularly around brand ownership, intellectual property rights, and identity transition for actors who become closely tied to long-standing roles. Industry observers note that such rebranding efforts are often strategic, allowing entertainers to redefine their image, explore new opportunities, and establish independence beyond a single defining character.
Abiodun Ayoyinka Rebrands as Bondu Alaska Amid Papa Ajasco Identity and Brand Dispute
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St. Janet, Nigeria’s ‘General Overseer of Sinners’ Chapel,’ Dies After Brief Illness
St. Janet, Nigeria’s ‘General Overseer of Sinners’ Chapel,’ Dies After Brief Illness
Iyun Janet Ajilore, the celebrated Nigerian Juju and highlife musician popularly known as St. Janet, has died after a brief illness. The news of her passing has sent shockwaves through the entertainment industry, with fans and colleagues mourning the loss of one of the most unique and fearless voices in indigenous Nigerian music.
The veteran entertainer reportedly passed away on Saturday, August 1, 2026. Publisher and socialite Otunba Femi Davies announced the news early on Sunday through his social media handles. According to Davies, St. Janet died after a brief illness. Her family has yet to release an official statement detailing the circumstances surrounding her death or announce funeral arrangements.
St. Janet, who was also fondly called “Mama Yabis,” carved a unique niche for herself in Nigeria’s indigenous music scene. She rose to prominence as one of the most prominent female voices in a genre largely dominated by male performers. Her style was a distinctive blend of Juju and highlife music with witty, socially unfiltered lyrics that often addressed societal issues, gossip, and everyday happenings. This earned her a reputation as a fearless and charismatic entertainer who pushed boundaries and sparked public debate about censorship and artistic expression.
Known for her electrifying live performances and engaging stage presence, St. Janet became a regular feature at weddings, birthdays, chieftaincy ceremonies, and other high-profile social gatherings across southwestern Nigeria. Her music, often performed in Yoruba and infused with rich cultural expressions, earned her a loyal following. Some of her notable and controversial albums included ‘Faaji Plus’ and ‘5G Plus,’ which pushed cultural boundaries and sparked public discussion.
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Interestingly, the controversy surrounding her ‘Faaji Plus’ album was never intended for public consumption. In a previous interview, St. Janet explained that the music was a live performance at a private party for select guests that was later pirated and released to the public. She stated, “The CD that you see out there is not really an album. It was a live performance at a party for selected people. The music is meant for adults. It was not meant for everybody.”
Despite the controversy, St. Janet remained unapologetic about her artistic style. “I know that people are criticising me because I am a woman. If I were a man, nobody would complain that I am singing obscene songs,” she once said. She insisted that her music reflected societal realities and that she gave her audiences what they wanted. At the same time, she maintained that her on-stage persona was different from her off-stage character, describing herself as naturally shy and reserved.
The late musician’s background was deeply rooted in Christianity. She was a chorister in a white garment church before transitioning into professional music. This religious foundation often influenced her performances, as she would start her shows with gospel songs before moving into more provocative material, a strategy that one scholar described as an “insidious approach” to erotic performances.
Her career spanned decades, beginning as a backup singer for her master, Lord Kenge, before launching her solo career. She once explained that her stage name “Saint” came from her master, who called her a “saint” because of her quiet, reserved nature off-stage.
St. Janet’s passing has generated an outpouring of grief from fans, colleagues, and lovers of indigenous Nigerian music, many of whom have taken to social media to pay tribute to the late performer. She is remembered as an entertainer with unmatched stage charisma and an enduring legacy that contributed significantly to preserving and promoting Juju and highlife music in Nigeria.
As of the time of filing this report, members of her family have yet to issue a detailed statement on the circumstances surrounding her death or announce burial arrangements. The passing of St. Janet marks the end of an era for many followers of indigenous Nigerian music, but her extensive body of work and contributions to the preservation and promotion of Yoruba musical heritage are expected to endure for generations.
St. Janet, Nigeria’s ‘General Overseer of Sinners’ Chapel,’ Dies After Brief Illness
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