Veteran actor Abiodun Richard Ayoyinka, widely recognised for his role as Papa Ajasco in the long-running sitcom Papa Ajasco & Company, has clarified claims surrounding donations and gifts following a viral interview in March. In a conversation with media personality Lucky Udu, Mr Ayoyinka, 65, revealed he earned between ₦45,000 and ₦50,000 per episode during the show's peak and now faces financial hardship, owning neither a house nor a car. The interview sparked public sympathy, leading to donations from Nigerians at home and in the diaspora. Mr Ayoyinka stated the total amount received was about ₦6 million, collected in increments from ₦1,000 to ₦1 million. He denied receiving a car or $25,000, saying, "I am still trekking and jumping the bus." Wale Adenuga, producer and creator of the show, contested parts of Mr Ayoyinka's narrative, claiming the actor had previously benefited from support, including access to a Mercedes-Benz. Mr Udu also expressed disappointment, alleging he received only an Instagram voice message in appreciation and that planned follow-up support fell through. In a subsequent interview with Daddy Freeze, Mr Ayoyinka said he appreciated Mr Udu's role in reviving his public profile and had attempted to reconnect, but his calls were not returned.
Abiodun Richard Ayoyinka's declaration that he is "still trekking" cuts to the core of how Nigeria treats its cultural icons—celebrated in their prime, then left to navigate decline without institutional support. His earnings of ₦50,000 per episode during the height of Papa Ajasco & Company were never sustainable, especially without royalties or pension structures, exposing the fragility of livelihoods in Nollywood's informal economy. The fact that a man who entertained generations now depends on public handouts, despite past access to a Mercedes, underscores a deeper issue: episodic patronage is not a safety net.
The backlash from Wale Adenuga and Lucky Udu adds a layer of personal discord to a systemic failure. While Mr Adenuga's mention of past benefits may hold truth, it does not negate the reality that those supports were temporary. Mr Ayoyinka's admission that his old Mercedes is long gone confirms that asset ownership in showbiz can be fleeting. The dispute with Mr Udu, framed as ingratitude, distracts from the larger truth—visibility does not equal financial security.
For ordinary Nigerians, especially aging artists and low-income retirees, this story reflects a country where fame offers no insulation against poverty. Without formal welfare mechanisms in entertainment, today's viral sympathy could be tomorrow's forgotten plea. This is not an isolated case but a recurring pattern in a system that profits from nostalgia without investing in its creators.
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