THE AFRICAN CONCEPT OF GOD

The title "god" is not African in origin; it is a Germanic word. The English word god comes from the Old English god, which itself is derived from the Proto-Germanic ǥuđán. Its cognates in other Germanic languages include guþ, gudis (both Gothic), guð (Old Norse), god (Old Saxon, Old Frisian, and Old Dutch), and got (Old High German) (Ricchiardi, 1993). African peoples do not consider God to be a man, but in order to express certain concepts, they employ language and images as an aid to conceptualizing Him—whom they have not seen and about whom they confess to know little or nothing. Africans have always believed in spirits and were spiritual even before Europeans and Arabs introduced their organized religions to them (Mbiti, 1970). They believed in a Supreme Being who created everything on Earth. Europeans and Arabs later developed Christianity and Islam after incorporating African spirituality concepts into their own religions. Regardless of this, Africans still worship their gods, as well as their ancestors and spirits, preserving their traditions through storytelling and cultural practices (Idowu, 1962).

Most African cultures, if not all, believe in a Supreme Creator in one form or another—often conceptualized as a "God behind the Gods," a Supreme Deity who created everything. Many African traditions hold that this Creator once lived on Earth but left for His Kingdom in the Sky due to human infractions. Since He was no longer in direct contact with people, Lesser Gods were created from His power to oversee different aspects of existence, such as Earth, Rain, Water, Wind, and Fire. These deities are believed to be capable of answering human prayers and interceding with the Supreme Creator on behalf of humanity (Awolalu, 1979). Although the Supreme Creator is often referred to using masculine pronouns, African belief systems generally regard this deity as beyond gender—both male and female, without form, and existing in an abstract sense. The Supreme Being is accessible to all, regardless of social status, and a breath of its divine essence is believed to be present in all animate and inanimate things (Mbiti, 1970).

Across Africa, different names are used to refer to the Supreme Creator. For example, the deity is known as Mulungu in East Africa, Leza in Central Africa, Nyambe in the West Tropics, and Nyame in Ghana. Other titles include "The Molder," "Giver of Breath and Souls," "God of Destiny," "One Who Exists of Himself," "God of Pity and Comfort," "The Inexplicable," "Ancient of Days," "The One Who Bends Even Kings," and "The One You Meet Everywhere" (Idowu, 1962). In many African traditions, the creation of the Earth is said to have taken four days. The fifth day was reserved for the worship of Orisha Nla, the chief of the deities, who is believed to have shaped the Earth under the instruction of the Supreme Creator. Orisha Nla was also tasked with forming human bodies out of clay, after which the Supreme Creator secretly instilled them with the spark of life. These newly created humans were then placed on Earth to live (Awolalu, 1979).

References:

Awolalu, J. O. (1979). Yoruba Beliefs and Sacrificial Rites. Longman.

Idowu, E. B. (1962). Olódùmarè: God in Yoruba Belief. Longmans, Green.

Mbiti, J. S. (1970). Concepts of God in Africa. SPCK.

Ricchiardi, G. (1993). "The Conception of God in the African Tradition." Research and Documentation: Inculturation and the Concept of God in the African Traditions, No. 2 (May), 67-86.

I AM READY FOR A NEW MAN IN MY LIFE-ANNIE IDIBIA.

Annie Idibia Reveals Qualities She Wants in Her Next Relationship After Divorce From 2Baba

Nollywood actress Annie Macaulay Idibia has revealed the kind of partner and relationship she envisions for herself following her highly publicized split from legendary singer 2Baba. Eyes Of Lagos reports,

The actress, who endured years of ups and downs during her marriage, took to Instagram to share what she now considers non-negotiable qualities in her future love life.

Annie Idibia on Her Next Relationship Goals

In a heartfelt Instagram story, the mother of two explained that she is no longer interested in relationships where only one person benefits. Instead, she desires mutual growth in all aspects of life.

“I want a relationship where we both get hotter, healthier, happier, and wealthier together. Simple thing, Pere,” she wrote.

This statement comes months after her marriage with 2Baba officially ended, with the singer moving on to start a new chapter of his own.

Her Advice to Women on Love and Money

Annie didn’t stop at sharing her desires; she also issued a warning to women about financial traps in relationships.

She reposted a message cautioning ladies never to sign loans or lend money to men in the name of love:

“If he asks you to lend him money or sign a loan in his name, even if you want to help, don’t agree. Otherwise, you risk losing both your love and your money.”

The actress further advised women not to abandon their ambitions or dreams just to please a partner, insisting that self-worth should always come first.

Embracing the “Soft Life Era”

Just days before her candid posts, Annie shared a video of herself having fun at a party with celebrity stylist Swanky Jerry and friends. She described this stage of her life as her “soft life era”, highlighting her focus on peace, joy, and boundaries.

Her recent reflections follow several months of cryptic and emotional messages, where she openly admitted to past mistakes and expressed her hope that her daughter will grow up valuing herself without repeating the same errors.

Lessons From a Decade-Long Marriage

Annie Idibia and 2Baba’s union lasted over a decade and was plagued with multiple controversies before it eventually crumbled. While the breakup drew public attention, Annie has since emerged more outspoken, embracing self-discovery, independence, and personal happiness.

For her, moving forward simply means: “Archive and move on.”

THE SIN OF CALLING A BROTHER "MY BROTHER."

Former Labour Party presidential candidate, Peter Obi, has come under criticism for calling the new Olubadan of Ibadanland, Oba Rashidi Ladoja, “my dear brother” in his congratulatory message to the traditional ruler.

Obi, in a statement posted on X (formerly Twitter) on Saturday to congratulate the monarch for his accession to the throne said, “I warmly congratulate my dear brother, Oba Rashidi Adewolu Ladoja, Arusa I, on his installation as the 44th Olubadan of Ibadanland.

“His ascension to this revered throne is a celebration for the people of Ibadan and a source of pride for the entire Yoruba nation and Nigeria as a whole.”

The Yoruba ethnic group is known for its respect for elders and kings, and the careful choice of words used when addressing them.

Peter Obi’s comment has been seen as a breach of this cultural norm, as he referred to the newly crowned king as “my brother.”

But reacting, a former presidential aide, Reno Omokri, berated Obi for what he called a lack of cultural sensitivity and diplomatic polish.

Omokri, in a post on X, accused Obi of denigrating the newly crowned monarch by calling him “my dear brother.”

“The 44th Olubadan of Ibadan, Oba Rasidi Adewolu Ladoja, is a royal father. Therefore, he should not be flippantly addressed as ‘my dear brother,’” Omokri said.

“The ancient throne of Ibadan predates colonialism. Ibadan was the largest city-state in West Africa. This is not some warrant chief created by the British in a land without natural rulers.

“The Olubadan is a first-class king and deserves honourable treatment from Nigerians. He is a warrior king and kabiyesi (one who cannot be questioned),” Omokri said.

Omokri further argued that[b] Obi would not dare address an emir in similar terms, suggesting that the comment underscored why Obi is “not a fit and proper person” to be Nigeria’s president.[/b]

“Can you, Peter Obi, refer to an emir as ‘my dear brother’? Of course not! What you cannot do with an emir, please, do not try it with the Olubadan,” he said.

Also reacting, the media aide to the Minister of Federal Capital Territory, Lere Olayinka, described Obi’s reference to Olubadan as disrespectful.

Olayinka, in a series of posts on X, also described Obi’s choice of words as a demonstration of cultural ignorance and political arrogance.

Olayinka said, “Mr One Shoe alias Agbotikuyo’s age is 64. Olubadan of Ibadanland, Oba Rashidi Adewolu Ladoja’s age is 81.

“Oba Ladoja became governor of Oyo State in 2003, Mr One Shoe became governor of Anambra State in 2006. Can you refer to someone who is 17 years older than you as my brother?

“Can Mr One Shoe address the Obi of Onitsha as my brother? Can he address President Obasanjo as my brother?”

TAYE CURRENCY AND THE DEATH KNELL OF FUJI MUSIC

The coronation of Oba Rashidi Adewolu Ladoja as the 44th Olubadan of Ibadan was golden platform for Fuji music to shine. Taye Currency one of its biggest stars took the stage. With his performance. He killed Fuji Music. It was the worst performance ever seen at a big event in recent memory. The President of the country and other notable dignitaries were in attendance sheer display of thuggery by a representative of the genre. I have always maintained that Sikiru Ayinde Barrister took Fuji Music template to his grave. The evidence is Taye Currency a man bereft of any talent seen as one of its biggest stars. You cannot give what you do not have.  With Fuji music, Ayinde Barrister revolutionized traditional Yoruba music while still projecting values of good behavior, respect for elders and the struggles against life's forces. He often used his music as a tool for commentary on issues of national concern, particularly politics. He was also known for his praise-singing skills.

Fuji Music since the death of its creator has always been garbage in garbage out. With cantankerous individuals celebrated as stars. Unfortunately, they have their listening audience. Not the ones that came to see the coronation of the Olubadan. Not the same ones that loved Ayinde Barrister and still listen to his music. The genre is now all about squabbles and songs with no message. Hence " werey la fin wo werey" on an international platform. A genre dies when it falls out of mainstream popularity. With few new creators or publications, often due to audience fatigue, the rise of new, competing genres, and shifting cultural tastes. Fuji music under its new management has all the ailments to lead to its untimely demise. With its detachment from umbilical cord of its creative founder. Thanks to Taye Currency, the genre is on its death knell.

Source: JAIYEOLA AJASA.

Opa Oranmiyan (Staff of Oranmiyan)

The Opa Oranmiyan, also known as the Staff of Oranmiyan, is a monumental granite monolith located in Ile-Ife, an ancient Yoruba city with deep historical and cultural significance in southwestern Nigeria. Standing about 5.5 meters (18 feet) tall, it is shaped like a giant staff or an elephant’s tusk.

According to Yoruba tradition, the monument marks the spot where Oba Oranmiyan—a son of Oduduwa and a prominent figure in Yoruba history—was fabled to have died. The Ooni of Ife, the spiritual head of the Yoruba people, holds custodianship of the site, which is regarded as sacred.

Scholars differ on when the Opa Oranmiyan was erected, with estimates ranging from the 12th to the 15th centuries, reflecting ongoing debates about its exact origin.

Beyond being a historical marker, the Opa Oranmiyan symbolizes kingship, authority, and military power in Yoruba culture. Today, it stands as a major cultural heritage site, tourist attraction, and focus of research in Yoruba history and archaeology.

September 25, 2025: At The Age of 78, Activist Assata Shakur Died

Assata Olugbala Shakur aka JoAnne Deborah Byron, married name Chesimard is a activist and escaped citizen who was a member of the Black Panther Party (BPP) and Black Liberation Army (BLA). Between 1971 and 1973, Shakur was accused of several crimes and made the subject of a multi-state manhunt.

In May 1973, Shakur was involved in a shootout on the New Jersey Turnpike, during which New Jersey State Trooper Werner Foerster and BLA member Zayd Malik Shakur were killed and Shakur and Trooper James Harper were wounded. Between 1973 and 1977, Shakur was indicted in relation to six other alleged criminal incidents—charged with murder, attempted murder, armed robbery, bank robbery, and kidnapping—resulting in three acquittals and three dismissals. In 1977, she was convicted of the first-degree murder of Foerster and of seven other felonies related to the shootout.

In 2013, the FBI announced it had made Shakur the 1st woman on its list of most wanted terrorists. Shakur was incarcerated in several prisons in the 70s. She escaped from prison in 1979 and has been living in Cuba inpolitical asylum since 1984. Since May 2, 2005, the FBI has classified her as a domestic terrorist and offered a $1 million reward for assistance in her capture. On May 2, 2013, the FBI added her to the Most Wanted Terrorist list and increased the reward for her capture to $2 million.

Attempts to extradite her have resulted in letters to the Pope and a Congressional resolution. On Sept 14, 1998: Senator and Former 2016 Presidential candidate, Bernie Sanders VOTED YES on H.Con.Res. 254 (105th). Which called on the Government of Cuba to extradite to the United States convicted felon Joanne Chesimard (Assata Shakur) and all other individuals who have fled the United States to avoid prosecution or confinement for criminal offenses and who are currently living freely in Cuba.

Shakur is the step-aunt of the deceased hip-hop icon Tupac Shakur, the stepson of her brother Mutulu Shakur. Her life has been portrayed in literature, film and song.

CULTURAL IMPACT:

A documentary film about Shakur, Eyes of the Rainbow, written and directed by Cuban filmmaker Gloria Rolando, appeared in 1997. The official premier of the film in Havana in 2004 was promoted by Casa de las Américas, the main cultural forum of the Cuban government.

The National Conference of Black Lawyers and Mos Def are among the professional organizations and entertainers to support Assata Shakur; The "Hands Off Assata" campaign is organized by Dream Hampton.

Due to her support in the hip-hop culture, Shakur has been alternately termed a "rap music legend" or a "minorcause celebre.":

Hip-hop artist Common recorded a tribute to Shakur, "A Song for Assata," on his album Like Water for Chocolate, 2000, after traveling to Havana to meet with Shakur personally.

Paris ("Assata's Song", in Sleeping with the Enemy, 1992)

Public Enemy ("Rebel Without A Pause" in It Takes a Nation of Millions to Hold Us Back, 1988)

2Pac ("Words of Wisdom" in 2Pacalypse Now, 1991)

Digital Underground ("Heartbeat Props" in Sons of the P, 1991)

The Roots ("The Adventures in Wonderland" in Illadelph Halflife, 1996)

Saul Williams ("Black Stacey" in Saul Williams, 2004)

Rebel Diaz ("Which Side Are You On?" in Otro Guerrillero Mixtape Vol. 2, 2008)

Lowkey ("Something Wonderful" in Soundtrack to the Struggle, 2011)

Jay Z ("Open Letter Part II" in 2013)

Digable Planets and X-Clan have recorded similar songs about Shakur.

On December 12, 2006 the Chancellor of the City University of New York, Matthew Goldstein, directed City College's president, Gregory H. Williams, to remove the "unauthorized and inappropriate" designation of the "Guillermo Morales/Assata Shakur Community and Student Center," which was named by students in 1989, when a student group won the right to use the lounge after a campus shutdown over proposed tuition increases. The decision resulted in a lawsuit from student and alumni groups. As of April 7, 2010, the presiding judge has ruled that the issues of students' free speech and administrators' immunity from suit "deserve a trial."

In 1995 Manhattan Community College renamed a scholarship which had previously been named for Shakur, following controversy.

In 2008, Shakur was featured in a course on "African-American heroes"—along with figures such as Harriet Tubman, Sojourner Truth, John Henry, Malcolm X, and Angela Davis—at Bucknell University.

Rutgers University professor H. Bruce Franklin, who excerpts Shakur's book in a class on Crime and Punishment in American Literature, calls her a "revolutionary fighter against imperialism."

Shakur is still a notorious figure among New Jersey law enforcement officials. For example, black (now ex-)Trooper Anthony Reed sued the force, among other things, over posters of Shakur, altered to include Reed's badge number, being hung in Newark barracks, an incident that Reed considered "racist in nature."In contrast, according to Dylan Rodriguez, to many "U.S. radicals and revolutionaries" Shakur represents a "venerated (if sometimes fetishized) signification of liberatory desire and possibility.

#BlackHistory #World

BIAFRA

Biafra: Kudos To  MASSOB At 26 Says  Despite Several  Attempts By The Enemy To Weaken Us, We Are Still Stronger, Consistent, focused 

OWERRİ -- İMO STATE: The Biafra Independence Movement, BİM, has said that members of the Organization are still united, consistent, focused and stronger despite  several attempts by the Federal Government to sabotage the struggle.

The road to achieving Biafra as a Sovereign State is  slippery and having a tough time of  it, but said that positive results have been made and Biafra is being discussed all over the world.

The pro- Biafra Organization has just celebrated 26 years anniversary of the  founding of Movement for The Actualization of The Sovereign State of Biafra (MASSOB) on September 13, 2025.

İn a statement endorsed  by the MASSOB's Director of information and Senior Special Assistant on Media and Publicity to Biafra Independence Movement, Mazi Chris Mocha, mentioned Nigeria, and her foreign collaborators as the number one enemy of the struggle.

At 26, BIM-MASSOB ranked the best among other pro-Biafra groups in terms of structures and achievements.

BIM-MASSOB's physical structures included  Biafra Bill of Rights which was submitted to the United Nations on November 1, 1999, by Barrister (Chief) Ralph Uwazuruike.

The  prestigious İnternational Library named after the former Head of State of the Defunct Biafra, Dim Chukwuemeka Odumegwu -Ojukwu-- Memorial Library, New Owerri, The İmo State Capital.

Other existing physical structures are; NON- violence and NON-exodus methods of our agitation for Biafra which has gained İnternational acceptance.

That Ralph Uwazuruike is also depending on the MONTEVİDEO CONVENTİON OF 1933 which was established by many Sovereign Nations to guide our struggle for the realization of the State of Biafra is BIM-MASSOB's greatest achievements.

MASSOB's structures also included our Regional offices in all the local Governments in the states making up Biafra;

That BIM-MASSOB aside these verifiable offices also built  Secretariats in each  Senatorial zones in S'E and parts of the S'South where our members could be  contacted; 

That Biafra is a member of Unrepresented Nations And Peoples Organization, UNPO,  is  through the efforts of BIM-MASSOB;

That Biafra Football Federation, BFF, is also  a member of Confideration of İndependent Football Associations, CONIFA, is  through the instrumentality of BIM-MASSOB; 

That Biafra is an EXİSTİNG State like Taiwan, Tibet, Hong- Kong, Scotland, is one of the greatest achievements of BIM-MASSOB;

That Biafra foreign Affairs ministry is   engaging -- in talks with friendly Nations and the assurances they are currently getting from those countries have spurred our determination to continue pushing forward for our freedom.

Mocha added that the quest for Self-Determination struggle for Biafra through non-violence and non-exodus philosophy still remains unstoppable and unshakable, he concluded.

Lagos, Yorubaland, and the Politics of Belonging - Balancing Heritage and Inclusivity

Lagos is more than a city, it is a symbol of Nigeria’s contradictions and potentials. A megacity of trade, culture, and migration, Lagos carries the weight of history while straining under the pressures of modernity. At its heart lies a question that has sparked debate for decades. Whose land is Lagos? Is it still part of Yorubaland and the Southwest, or has it evolved into a “no man’s land”?

This is not just a historical inquiry but a question of identity, ownership, and the future of Nigeria’s most populous and economically dominant state.

The story of Lagos begins with the Awori, a Yoruba subgroup that migrated from Ile-Ife in the 15th century. Settling along lagoons and islands, they established small fishing and trading communities under the leadership of Olofin Ogunfuminire. According to legend, a mystical plate sent by Oduduwa guided Olofin to the settlement, marking the foundation of Eko the original Lagos.

By the 16th century, the Benin Kingdom exerted influence, appointing Ashipa as Lagos’s administrator. While Lagos paid tribute to Benin for centuries, its identity remained largely Yoruba. European contact from 1472 onward, and British colonization in 1861, transformed Lagos into a commercial hub and eventually the colonial capital of Nigeria. These historical layers,  Awori roots, Benin influence, and colonial development set the stage for a city of immense complexity.

Lagos’s special status as a federal territory until 1967 created both opportunity and ambiguity. In 1967, Lagos State was formally created, merging Lagos Island and the surrounding towns into a single state with Ikeja as its capital. Administratively and geographically, Lagos is firmly in the Southwest geopolitical zone, sharing borders with Ogun State and maintaining its Yoruba cultural foundations.

Yet, Lagos is undeniably cosmopolitan. Today, indigenous Lagosians make up less than half the population. Igbos dominate markets and trade, Hausas run transportation and logistics, and communities from across Africa and beyond contribute to the city’s economic dynamism. Lagos’s rise to a megacity of over 21 million residents has made it a national and continental economic powerhouse.

The notion of Lagos as a “no man’s land” originated from its federal capital status, symbolizing a city that belonged to all Nigerians. Over time, however, some have used the phrase to assert claims that Lagos is equally “owned” by non-indigenes, especially those from the Southeast.

From a historical perspective, this claim is inaccurate. The Awori and other Yoruba subgroups remain the ancestral landowners, recognized through customary law and affirmed by colonial court rulings such as Amodu Tijani v. Secretary of Southern Nigeria (1921). The Idejo chiefs , descendants of Lagos’s founding families hold absolute ownership  title to much of the land on Lagos Island, while other prominent families maintain ancestral claims across the city.

Politically and socially, these claims are sensitive. Some Igbos and other migrant communities argue that, given their economic contributions and the city’s historical role as a national capital, Lagos belongs equally to all. For many Yorubas, however, this narrative is perceived as an attempt to erase centuries of indigenous history.

Lagos embodies Nigeria’s central tension, the collision of heritage and modernity. On one hand, its Yoruba identity is undeniable from language, festivals, and sacred sites to traditional rulers and land ownership. On the other, its cosmopolitan nature is central to its global status.

The challenge is to balance respect for indigenous rights with inclusivity. Indigenous Lagosians must see their history honored, while migrants from Igbo, Hausa, Edo, and beyond should be welcomed for their contributions to Lagos’s growth. The city’s future depends on embracing both truths,  Lagos is Yoruba land by history, yet a shared space for opportunity, innovation, and cultural exchange.

Geographically, politically, and culturally, Lagos remains part of the Southwest. It participates in regional governance, Yoruba cultural networks, and the South-West Governors’ Forum. But its identity as Nigeria’s economic hub makes it a national city in practice, a space where millions of Nigerians stake livelihoods, homes, and dreams.

The phrase “no man’s land” is therefore both historically misleading and socially symbolic. It reflects Lagos’s inclusivity but should not obscure its origins. Recognizing Yoruba heritage while embracing migrants’ contributions is the path forward.

Lagos is a city of contrasts, ancestral landownership and cosmopolitan dynamism. Yoruba traditions and multiethnic innovation, historical pride and modern aspiration. Its story is one of balance. Deny its Yoruba roots, and you erase centuries of history. Deny its cosmopolitan reality, and you stifle the growth and diversity that make it Africa’s economic heartbeat.

The task is clear, acknowledge the past, respect indigenous claims, and cultivate an inclusive future. Lagos, after all, is Eko for show, Yoruba land at its core, yet a home for millions of Nigerians and Africans who dream of making it their own. In navigating this dual identity, Lagos not only defines itself but illuminates a pathway for Nigeria’s larger challenge, how to honor heritage while embracing the transformative power of diversity.

Who Will Decide the Next Awujale?

Chief (Dr.) Sunny Kuku - Guiding Ijebuland Through Its Defining Moment

Every journey needs a guide. In the delicate transition to a new Awujale, that guide is Chief (Dr.) Folorunso Sunny Kuku Ogbeni Oja of Ijebu Ode and Chairman of the 11-member committee tasked with overseeing the kingdom during this transition period.

At 81 years old, Dr. Kuku embodies a rare blend of tradition and modernity. A medical doctor of international renown, entrepreneur, philanthropist, and seasoned administrator, he has spent decades navigating complex systems, hospitals, businesses, and academic institutions alike. Yet, unlike a corporate boardroom, the palace operates by centuries-old customs, rituals, and cultural wisdom. His ability to bridge these worlds gives him both authority and responsibility in this historic moment.

Born on January 3, 1944, in Jos, Plateau State, and rooted in Ijebu-Ode, Ogun State, his very name, Folorunsho “left in the care of God” reflects a heritage of resilience and faith. His formative education spanned Jos and Lagos, culminating in King’s College (1957–1963), where his academic brilliance first shone, even as he playfully recalled his youthful horseplay. He pursued medical studies at the College of Medicine, University of Lagos (1964–1970), excelling across disciplines and later expanding his expertise internationally in New York, London, and Chicago, earning multiple degrees including MBBS, MSc in Pathology, MD, and PhD.

Dr. Kuku’s medical career is distinguished by pioneering contributions to Nigerian healthcare. After housemanships and research fellowships abroad, he returned home to serve as Senior Lecturer and Consultant Endocrinologist at the University of Lagos. In 1978, he co-founded EKO Hospital (Ekocorp Plc), transforming private healthcare and becoming the first hospital listed on the Nigerian Stock Exchange. His work in endocrinology, particularly in diabetes and metabolic disorders, set new standards for medical care, earning him leadership roles such as President of the Pan African Diabetes Study Group and Honorary Life President of the Nigerian Society of Endocrinology.

Yet his influence extends far beyond medicine. As an academic and business leader, he has served as Pro-Chancellor of Ogun State University and University of Benin, Chairman of the Board of Management at University College Hospital, Ibadan, and helmed major financial and healthcare institutions including Ecobank Nigeria, Midas Stockbrokers, and Clina-Lancet Laboratories. His expertise in governance, policy, and advocacy has strengthened both education and health systems, while his philanthropic and cultural engagements anchor him firmly in Ijebu society.

Tradition runs equally deep in Dr. Kuku’s life. He holds the hereditary title Olor’ogun of Ijebu-Ode, descending from Balogun Kuku, a historic merchant-warrior instrumental in ending the Imagbon War of 1892. In 2024, he was conferred the prestigious Ogbeni Oja of Ijebu-Ode, the highest chieftaincy for a freeborn Ijebu male. In this role, he acts for the Awujale during transitional era , commanding respect among elders, navigating palace politics, and safeguarding cultural continuity. Other titles he holds, Jaguna of Ikeja, Olorogun of Lagos, and Baasegun Onigbagbo-Opebi, further cement his stature as both custodian and mediator.

His accolades, national and international, testify to a life of excellence: Officer of the Order of the Federal Republic (OFR), first African Master of the American College of Physicians, Ambassador of Goodwill for Freetown, Sierra Leone, and numerous academic and professional honors. Beyond awards, his legacy lies in mentorship, philanthropy through The Sonny Kuku Foundation, and cultural preservation, reflecting a lifelong commitment to Ijebu and Nigeria at large.

Leadership at this moment is complex. Dr. Kuku must balance the perspectives of the Ilamuren kingmakers, the politically connected Pampa elite, and the broader Ijebu community. Every decision, every consultation, every public word carries weight, not only in administration but in cultural legitimacy. Yet his decades of service, professional achievements, and social capital provide a steady hand capable of guiding the kingdom through uncertainty while preserving the integrity of a throne that has symbolized unity for generations.

The question that hovers over Ijebuland is profound. Can a man grounded in both tradition and modern systems shepherd a kingdom through transition, ensuring stability while honoring heritage? History watches. Ijebu watches. And at the helm, Dr. Kuku leads a figure poised between the past and the future, embodying continuity, wisdom, and vision.

In the next part of this series, we will explore the younger, energetic voices on the committee, the Pampa elite and professionals whose modern perspectives may complement or challenge the elders’ wisdom, shaping the trajectory of this historic succession.

A Call For Abike Dabiri's Assassination?

What else can one conclude but the above when you read the following statement by one Ebi Anthony, who wrote thus;

"I think the Igbo nation should have volunteers 'MOSAD' (you know what I mean), to down person's like her where ever they may be."

The above quoted statement was made in direct and unambiguous reference to the Chairman/CEO of the Nigerians in Diaspora Commission, Mrs. Abike Dabiri-Erewa, who was the sole subject of a post by well known veteran journalist and former editor of major newspapers in Nigeria like The Guardian, Thisday, Newage as well as MD/CEO of Imo Newspapers Limited, Steve Osuji.

Steve Osuji, whose post centred mainly on calling for Abike's apology to the Igbo nation, or alternatively to resign from her post, berated her for liking a post by an X user who allegedly used derogatory words on the Igbo ethnic nation.

"He who comes to equity must come with clean hands"

One would have  expected that a Steve Osuji who wrote such a long epistle in his post to castigate and chastise Abike Dabiri-Erewa, (spitting fire and brimstone in the process), would be the last person to commit the same offence he is accusing her of, to wit, supporting and encouraging an uncouth individual to fan embers of hate and bigotry in public.

In fact, he took his own offense several despicable notches higher. Not only did Steve Osuji fail to reprimand the culprit, Ebi Anthony who, in commenting under his post, was surreptitiously and publicly calling for Abike Dabiri-Erewa's assassination/elimination, he did not delete the offending post, something any responsible administrator of a platform would have done immediately.

Rather, Steve Osuji chose to approve of that incitement to murder by giving a "thumbs up/like" emoji sign!!!

Now, how does that make him better than Abike Dabiri-Erewa whom he accused and passed a verdict of "guilty" upon? On what higher moral pedestal can he claim to stand in judgement over her?

Our law enforcement agencies must rise to the occasion and perform their duties. We cannot have citizens publicly soliciting others, whether individuals or groups, to engage in assassinations/murder of fellow citizens under whatever reasons or justifications and the law is not immediately activated to bring such culprits to book.

This man, Ebi Anthony must be immediately fished out, and prosecuted under the law. Steve Osuji, under whose post he made such a hateful and incendiary incitement must also have to explain his apparent tacit approval for the man's incitement to murder.

The Igbo nation, whose name the man attempted to drag into infamy through his call to them to have a standby so-called 'Mosad' to eliminate enemies of the Igbo, must vociferously dissociate itself from this odious call and engage her sons  and daughters to distance themselves from such individuals who will only succeed, if given free rein and unchecked, to further widen the gap between them and their fellow compatriots in this nation.

The unity of this country among the different ethnic nationalities at the present moment, is very fragile and being daily put to the test through unguarded statements, particularly through the social media.

We must not allow this situation to degenerate further by allowing extremists who brazenly and publicly solicit and call for the elimination of their fellow citizens. Allowing that to happen is calling for total anarchy.

It is time for our leaders, irrespective of party politics, religion, and ethnicity, to summon the courage and call for dialogue to end this seemingly unending tribal baiting of one another, an unprofitable past time that can lead nowhere but the road to conflagration!

12 NOLLYWOOD CELEBRITIES FROM THE DECADES YOU MAY HAVE FORGOTTEN

(1). Hubert Ogunde

Hubert Ogunde was a Nigerian playwright, actor, theatre manager, and musician. He was a pioneer in the field of Nigerian folk opera (a type of drama in which music and dancing played a significant role). He was the founder of the Ogunde Concert Party (1945), the first professional theatrical company in Nigeria. Ogunde who was often regarded as the father of Nigerian theatre sought to reawaken interest in his country’s indigenous culture. He d|ed on April 4, 1990, in London, England.

(2). Duro Ladipo

Duro Ladipọ was one of the best known and crit|cally acclaimed Yoruba dramatists who emerged from post-c0lonial Africa. Writing solely in the Yoruba language, he captivated the symbolic sp|rit of Yoruba mytholog|es in his plays, which were later adapted to other media such as photography, television and cinema. As a teacher in a church school at Osogbo in 1960, Ladipo scandalized church members by including bata drums in the Easter cantata that he had composed for the church and was thereafter obliged to seek a secular outlet for his musical interests. In 1962 he founded the Mbari Mbayo Club, and for its inauguration, his new theatre company performed his first opera, Oba Moro (“Gh0st-Catcher King”). He premiered Oba Koso (“The King Did Not Hang”) at the club’s first anniversary in 1963 and a year later introduced Oba Waja (“The King is Dèad”) All three operas are based on the history of the Oyo kingdom and are available in English in Three Yoruba Plays (1964). He d|ed Mar. 11, 1978, in Oshogbo.

(3). Ola Balogun

Ola was Born in 1st of August 1945, Ola Balogun is a unique figure in Nigerian cinema. In the 1970s and 1980s, he influenced the film industry in Nigeria like no other person and paved the way for the Nollywood boom that began in the early 1990s. The fact that he is virtually forgotten outside of Nigeria nowadays is also a function of the fact that many copies of his films have disappeared. He also ventured into the Nigerian music industry in 2001. Balogun studied cinematography at Institut des hautes études cinématographiques.

(4). Adeyemi Afolayan (Ade Love)

This writeup(Caption) is from Ayeni Abayomi page

Adeyemi Afolayan also known as Ade Love was a Nigerian film actor, director and producer. He's brother to actress Toyin Afolayan and father to film actors, Kunle Afolayan, Gabriel Afolayan, Moji Afolayan and Aremu Afolayan. In 1966, Afolayan joined Moses Olaiya’s drama troupe, and in 1971, he left to establish his own drama group which went on to stage comedic plays. He appeared in Ola Balogun’s Ajani Ogun in 1976, and later produced and starred Ija Ominira, also directed by Balogun. Kadara, ‘Destiny’ in English was the first movie he wrote, produced and also starred as the leading actor. The movie was shown at the ninth Tashkent film festival for African and Asian cinema. Afolayan went on to produce and star in other productions such as Ija Orogun, Taxi Driver and Iya ni Wura. He dìed in 1996.

(5). Sam Loco Efe

Sam Loco Efe was a popular comic actor who was born in Enugu. His first experience with acting was at his school when a theatre group came to stage a play called ‘The Doctor In Spite of Himself’, afterwards, he discussed with members of the group about the theatre and performance arts. In elementary school, he was a member various groups including a drama society that performed a rendition of Shakespeare’s ‘Julius Caesar’ at an Eastern regional arts festival in Abakaliki, the play came last in the drama competition but Efe was noted as the best actor which earned him a scholarship to complete elementary school. After finishing elementary school, he attended various secondary schools and was active in the drama society, organizing a performance of ‘The Doctor in Spite of Himself’ and a play called ‘Vendetta’. After secondary school, he was a member of a travelling theatre group and played soccer earning the moniker locomotive later shortened as loco. He dièd 7th August 2011.

(6). Oyin Adejobi

Chief Oyin Adejobi was a very popular dramatist and seasoned actor in South-Western Nigeria. He wrote and performed in a variety of Yoruba productions on the stage, television and movies. He was especially well known for his autobiographical movie ‘Orogun Adedigba’. He also had a weekly television show, ‘Kootu Asipa’ meaning “Ashipa’s Court” on Nigerian Television Authority, Ibadan. The Oyin Adejobi Popular Theatre Company is named for him. He dìed in the year 2000.

(7). Professor Peller

Professor Moshood Abiola Peller was a Nigerian màgician and one of Africa’s most renowned màgicians. He was born in 1941 at Iseyin, Oyo State and he was named Moshood Folorunsho Abiola. He later picked the stage name of ‘Professor Peller’, an appellation that has stuck to him like a second skin. He started performing illusi0n tricks in 1954 travelling to Ibadan, Lagos and Oyo for performances. In 1959, he changed occupation and began work as a representative of G.B.O. and later moved into trading. His interest in illusi0n continued and in 1964, he attended a school of magicàl arts in Indìa, he spent 18 months at the school and after completion, settled in Liberia. In 1966, he had his first post-training show at the Federal Palace Hotel, Lagos. He was later assàssinated in 1997.

(8). Alade Muyideen

Alade Aromire was a popular actor and producer who was also the owner and creator of Yotomi Television, a cross-cultural broadcasting station with bias for Yoruba-based programmes. Alade was believed to have produced the first home video in Nigeria as he was the pioneer of Yoruba home video industry. He dièd 4 July, 2008 in an auto cràsh along the Lagos/Ibadan expressway.

(9). Moses Olaiya

Late Moses Adejumo, aka Baba Sala

Moses Olaiya, better known by his stage name “Baba Sala”, was a Nigerian comedian, dramatist and actor. Baba Sala, regarded as the father of modern Nigerian comedy, alongside other dramatists like Hubert Ogunde, Kola Ogunmola, Oyin Adejobi and Duro Ladipo popularized theatre and television acting in Nigeria. He was a prolific filmmaker. He started his career in show business as a Highlife musician, fronting in 1964 a group known as the Federal Rhythm Dandies where he tutored and guided the jùjú music maestro King Sunny Adé who was his lead guitar player. As a young boy, Olaiya played the class clown and sometimes dressed outlandishly to please people. While he chose to develop a career in entertainment his parents wanted a path that will lead to a professional career such as medicine or law. Baba Sala dièd in October 2018.

(10). Lere Paimo

Lere Paimo was Born in November 1939, Pa Lere Paimo, OFR is an acè Nigerian film actor, film-maker, producer and director. He began his acting career in 1960 after he joined the Oyin Adejobi theatre group, founded by Pa Oyinade Adejobi before he later joined Duro Ladipo’s Theatre Group where he featured in a stage play titled ‘Obamoro’ with the role of “Chief Basa”. He became popular following a lead role as Soun Ogunola played in an epic Yoruba film titled ‘Ogbori Elemosho’ which brought him into the limelight. He has featured, produced and directed several Nigerian films since he began acting in 1963. In 2005, in recognition of his immense contributions to the Nigerian film industry, he was bestowed with a National award of Member of the Federal Republic alongside Zeb Ejiro by former president Olusegun Obasanjo. On May 2013, it was reported that he had a partial str0ke, an attàck he survived.

(11). Funmi Martins: 

The legendary Funmi Martins was a shining star of the Yoruba movie industry in the ’90s. She was sh0t into limelight in 1993 when she starred in her first movie called ‘Nemèsis’ directed by Fidelis Duker. Funmi Martins before her dèath starred in dozens of movies. Some of her most notable works include Eto Mi, Pelumi, Ija Omode, Eru Eleru. She died on May 6, 2002.

(12). Bukky Zainab

Bukky zainab Ajayi was a Nigerian actress who was born and bred in Nigeria but completed her higher education in England, United Kingdom courtesy of a federal government scholarship. In 1965, she left England for Nigeria where her career began as a presenter and newscaster for Nigerian Television Authority in 1966. Bukky made her film debut in the television series ‘Village Headmaster’ during the ’70s before she went on to feature in ‘Checkmate’, a Nigeria television series that aired during the late 1980s to the early 1990s. During her acting career, she featured in several films and soaps including ‘Critical Assignment’, ‘Diamond Ring’, ‘Witches’ among others. In 2016, her contributions to the Nigerian film industry was recognized after she and Sadiq Daba were awarded the Industry Merit Award at the 2016 Africa Magic Viewers Choice Awards. Bukky Ajayi dîed at her residence in Lagos State on 6 July 2016 at the age of 82.

Source: Ayeni Abayomi

Learn More About Fela Kuti

Fela was born Olufela Oludotun Ransome-Kuti on 15th October 1938 at Abeokuta, Yorubaland into a middle-class family, his father a reverend and a school principal, his mother a renowned anti-colonialist and a feminist activist. He was brought up in a Christian way and had colossal life prospects and hopes ahead of him. Like many parents, his parents wanted him to become a medical doctor which he initially didn’t refuse, he travelled to London in 1958 hoping to become a doctor but to change his mind and enrolled at Trinity College of Music.

It was at that college he formed his first band; Koola Lobitos, a combination of highlife music and jazz, the genre was mainly highlife. While there, he married his first wife Remi Taylor in 1960, Remi who became mother of Femi, Yeni and Sola Kuti. Fela eventually returned to Nigeria in 1963.

He was the pioneering founder of Afrobeat, he left for America in 1969 in pursuit of fans for his Afrobeat, it was there he discovered the importance of being black, that was during Martin Luther King’s assassination and other racism mayhem that followed and perhaps coupled with his experience in London, England where racism was still lawful. He once lamented during an interview in 1984 to the BBC about how he became a black proponent, he talked about issues of renting a room in London back in the day where an awful advert would be displayed saying “room for rent, no coloured no pets” and he further mentioned how white people wear pretentious smile.

While in America, he released The 1969 Los Angeles Sessions and was later asked to leave America by Immigration authority following a certain promoter who allegedly reported him to be working without work permit.

His band was renamed Africa ’70 on his return to Nigeria, and subsequently, the theme began to change from highlife and sentimental love songs to rugged and fiery lyrics pointing at ills in society. He thus formed Kalakuta republic, a compound that housed his family, band members and recording studio. He undauntedly declared Kalakuta an independent commune from Nigeria. He dropped “Ransome” from his dual/hyphenated surname claiming it’s a slave name and that slave era had been over, he instead adopted “Anikulapo”; he that has death in his pouch.

Fela popularity grew steadily among Nigerians and his songs which were fairly huge with heavy instruments like horn, jazz, piano, and a musical structure featuring funky tunes and often up to 20mins or more per track became the vogue with his fans as he chose to sing in a more popular and acceptable language; Pidgin English. He was repeatedly singing about anomalies of the then military administrations and soldiers in general.

He soon released a loathsome and of course mordant blockbuster “Zombie”. It was about military moves, gestures and salutations and how they dare not disobey commands.

Zombie, a song that came 22nd on list of 100 songs that changed the world, a song that would easily annoy any military personnel and it was indeed (as reported) totally unacceptable to military government of Gen. Obasanjo who was Fela’s school mate at primary school in Abeokuta. Fela claimed he (Obasanjo) was behind the burning of his house on February 18, 1977 after an assault by a battalion armed soldiers, his mother was thrown out of a 2nd floor window and died as a result. This was illustrated in his song “unknown Soldiers”. After the death of his mother with roots of her death pinned to his album Zombie, Fela took her coffin to Dodan Barrack (former office of Nigerian head of states when Nigerian capital was at Lagos) barricading its entrance before having her buried as also illustrated in his song “coffin for head of state”.

Fela was known to fearlessly desecrate people of high positions and especially Nigerian presidents. This would make him go in and out of police cells, he was reported to have been arrested up to 250 times and most times, he was often inhumanely beaten to pulp. Fela was hyper-famous with smoking marijuana and wearing shorts at home, he detested Christianity and Islam as also illustrated in his song “suffering and smiling” a song very popular among Nigerians. His hits include; Zombie, suffering & smiling, Beast of no nation (where he questioned activities of UN and the gaffe of Margaret Thatcher “give them human rights” ), water no get enemy, ITT, Teacher don’t teach me nonsense, Lady (aimed at supposedly educated African women who have adopted western culture), ODOO, authority stealing and yellow fever (targeted at people who bleach their skins) amongst others.

He died of what his elder brother Prof. Olikoye said to be Aids on 2nd August 1997. He once married 27 wives whom he lived with opposing the biblical recommendation of one wife.

His legacy and music (Afrobeat) live on though, musicians like his son Seun Kuti and D’banj et al chose him as their mentor. Wizkid recently tattooed his image on his arm. When he was alive, he enjoyed a broad base of fans and that is not likely to diminish as his fanatics are still all over Nigeria and the world.

His songs were being taken across the globe by a group called Fela! awhile ago, it was a hit when performed in the states, Michelle Obama was reported to have attended it on Broadway. Superstars Jay Z and Will Smith were the co-producers of the act Fela! I was lucky to catch a glimpse of the show when brought to London at sadler’s wells.

Till date, no Nigerian government has apologised to the Kuti family and neither did they recognise Fela although as of recent, The Lagos state government has turned part of The Kalakuta Republic into a museum and a place of attraction in Lagos state.

Some of his sayings: who killed Dele Giwa? 'Na Baba' if you add 'ngida' na you sabi and 'Igbeyawo' (Marriage) was properly broken down thus: Igbe iya wo (the act of purposely carrying and staring at angst).

 By: Bola Olalekan

Tradition in Transition - The Olisa’s Enduring Role

When Oba Sikiru Kayode Adetona, the revered Awujale of Ijebuland, passed away on July 13, 2025, at the age of 91, he left behind more than a legendary 65-year reign, he left behind a kingdom facing a delicate transition. His death activated the rotational chieftaincy declaration of 1957, a legal framework that governs the succession to the Awujale stool. The process is intricate, rotating the throne among four ruling houses , Dosunmu, Parklane (Ladoto), Anikinaiya, and Tunwase and relying on four principal classes of kingmakers: Ilamuren, Odi, Osugbo, and Pampa.

At the heart of this transition is the Olisa of Ijebu-Ode, Alaiyeluwa Rasheed Adeoye Adesanya Ademoku II, a figure whose office is as old as Ijebuland’s monarchy itself. Traditionally, the Olisa is the immediate deputy to the Awujale, the "Mayor of Ijebu-Ode," and the regent whenever the throne is vacant. His role is not ceremonial. He is charged with holding the kingdom together until a new Awujale is installed,  presiding over interim councils, coordinating kingmakers, and safeguarding cultural protocols during the transition period.

This time, however, history has taken an unexpected turn. In late August, Ogun State Governor Dapo Abiodun announced the formation of an 11-member administrative committee to oversee Ijebu-Ode’s affairs during the transition. Chaired by Chief (Dr.) Folorunso Sunny Kuku Ogbeni Oja and a prominent Ilamuren leader,  the committee includes other high chiefs from Ilamuren, Pampa, and Odi classes. Conspicuously absent from the list is the Olisa himself.

The government gave no explicit reason for the exclusion, describing the body simply as a collaborative platform "in line with existing historical and traditional practices." But the move has sparked controversy, with many viewing it as a significant departure from precedent. For generations, the Olisa has been regarded not only as the regent but also as a key kingmaker, one of the six Ilamuren chiefs who must ratify any nomination from the ruling house before a new Awujale can be installed.

On September 4, 2025, the Olisa broke his silence. In a carefully worded public statement, he stopped short of confrontation but asserted that the committee’s composition contradicts both custom and law. Citing the records of a 1977 traditional council meeting which, he said, are in the custody of the Ogun State government, he called for compliance with the rotational declaration and the Chiefs Law of 1957, which codify his regency role. His message was simple but powerful “The record is there. All that they have to do is comply with the law.”

Members of the Ogu’ja Olu-Isa royal dynasty, to which the Olisa belongs, reinforced this position a day earlier in a televised appeal. They reminded the public of the Olisa’s historical status as co-founder of Ijebu political authority, his palace’s centrality to the kingdom’s capital, and his statutory role as chairman of the Ijebu-Ode District Council. To them, excluding the Olisa is not a mere administrative oversight,  it risks unsettling a centuries-old equilibrium that has kept Ijebuland united through past leadership voids.

This tension raises profound questions about the balance between state authority and traditional autonomy. Should a government-appointed committee take precedence over a regent recognized in both oral tradition and gazetted law? Is the state seeking to modernize succession processes for transparency, or is it inadvertently sidelining a symbol of Ijebu identity?

For now, the succession process continues. The Funsegbunwa Ruling House, next in line, is screening candidates, while the kingmakers prepare for the decisive stage of nomination and ratification. What remains to be seen is whether the Olisa’s appeal will be heeded and whether his constitutional role will be restored in time to lend legitimacy to the final choice of a new Awujale.

What is certain is that this moment is bigger than personalities. It is about the soul of Ijebuland, about whether tradition and modern governance can walk hand in hand without losing the values that have kept the kingdom stable for nearly a millennium. In the end, the story of the next Awujale’s emergence may be as much about the man chosen, as about the process that brought him to the throne, and whether that process honors the very legacy Oba Adetona spent a lifetime protecting.

Tradition, Duty, and Destiny - Who Will Shape the Next Awujale?

Ijebu land finds itself at a historic crossroads. For over six decades, Oba Sikiru Kayode Adetona, the Awujale of Ijebuland, embodied the spirit, identity, and aspirations of his people. His passing does not merely close a chapter,  it ushers in a rare interlude of reflection, testing the resilience of tradition, the wisdom of those entrusted with leadership, and the unity of Ijebu sons and daughters, both at home and abroad.

The responsibility that now lies ahead transcends the selection of a monarch. It is a decision about the future itself. At the heart of this process are the eleven men and women tasked with guiding Ijebu Ode during this transition period. These individuals are more than administrators, they are guardians of continuity, arbiters of legitimacy, and interpreters of a cultural narrative that stretches back centuries.

Their appointment carries both symbolism and strategy. It reflects a deliberate integration of Ilamuren, the traditional kingmakers with the Pampa elite, palace officials, and seasoned professionals. This convergence of the ancestral and the contemporary highlights a central tension. Will the committee focus solely on administrative stewardship, or will it shape the very trajectory toward the next Awujale?

The question is not merely political,  it is moral and cultural. Every decision made during this period will ripple across generations, influencing how history remembers this transition. For the Ijebu people, this moment demands thoughtful reflection, patience, and an unwavering commitment to fairness, ensuring that the next Awujale inherits a kingdom strengthened by unity rather than division.

It is also a time to consider the evolving nature of leadership in a rapidly changing Nigeria. The next Awujale will not only sit on a historic throne but will also be charged with steering a proud kingdom through modern challenges while honoring the legacy of those who came before. Balancing tradition with contemporary expectations is a responsibility that requires both wisdom and courage.

This series will explore the composition of the committee, their backgrounds, influences, and the potential implications of their decisions. The goal is not to speculate or sensationalize but to provide the Ijebu people with clarity and insight, helping them appreciate the significance of every choice made in this delicate moment.

As history unfolds, this interregnum reminds us that leadership is never isolated from the collective spirit of the people. It is forged in dialogue, consensus, and the shared aspirations of a community conscious of its past and mindful of its future.

History is being written before our eyes, and the first chapter of this new era begins here. The choices made today will echo across generations, shaping not just the next Awujale, but the very soul of Ijebuland.

Geopolitics: Nepal🇳🇵

The President of Nepal and other politicians have fled the country after massive protests by the youths.

This started like a joke: the youths complained about politicians’ kids schooling abroad and living lavishly while they suffer back home and the government ignored it. They complained about corruption and they ignored.

They said they can’t keep suffering while politicians' kids enjoyed out of the country while they pay tax.  It got really tensed.

QUESTION:

But why can’t the politicians really fix the country so that their own kids can also school there?

#Nepal #Genz #World

African leaders have not failed Africa

In fact, African leaders have always paid the ultimate price by sacrificing their blood for the future of African.

You will turn to consider Africa's problem as resulting from leadership failure only when you fail to differentiate between *Representatives and Servants of African*, and *agents and servants of colonizers* . 

In spite of the clarity in this dichotomy, I sometimes do understand those who are unable to differentiate between the two, because, while the latter is is common and can be found all over the continent of Africa all the time, the former can scarcely be found and hadly lasts for any span of time whenever we establish one.

The truth is that whenever Africa put in a leader, he gets killed by our colonizers and get replaced by their agents. Those who are trained and sponsored by our oppressors and are ready help to continue remote colonization. You and I know this very well. Think about, Thomas Sankara, Patrice Lumumba, Sylvester Olympio, Samora Machel, Gaddafi, and John Magufuli just to mention but a few.

It is therefore wrong to refer to these agents of our oppressors  as ~" *our leaders*" and go on to equate their continuous milking of the African Continent to ~"a leadership failure". If there is anything we have to do, then it should be an act of bringing ourselves together to fight against this remote colonisation and help to bring back real African leaders like Kwame Nkrumah, Kenneth Kaunda, and Julius Nyerere. 

To this end, I say that Africa's problem still remains the same; the hand that enslave and colonize us for 400 years and still controlling our affairs after granting us a superficial Independence is the hand we have to cut off from Africa.

Neo-Colonialism must be resist with equal or even a greater organized force which was used by our forefathers to drive away direct colonization. In the end, we must free Africa and secure a better future for the next generations at all cost.

Maponga Joshua III  "Farmers of Thought" Shacky Timburwa

WHAT HAS PRESIDENT TRUMP GOT TO DO WITH THE NIGERIAN ECONOMY?

PRESIDENT  TINUBU:

"Today, I'm standing before you I can brag that Nigeria is not borrowing a dime from a local bank. We have met our revenue target for the whole year, we met it in August, non-oil o. If the non-oil revenue is doing well, then we have no fear of whatever Trump is doing."

Since Bola Ahmed Tinubu became president in May 2023, Nigeria has borrowed tens of trillions of naira through a combination of domestic bonds, external loans from institutions like the World Bank, and securitized advances. While the exact total is a moving target due to new loan requests, currency fluctuations, and ongoing disbursements, analysts have tracked a rapid rise in the country's total public debt. The national debt has surged from N87.38 trillion in June 2023 to nearly N145 trillion by the end of 2024.

Key borrowing by Tinubu's administration

External borrowing

World Bank loans: A series of loans have been secured for various projects.

2023: $750 million for power, $500 million for women's empowerment, and $800 million for social safety nets.

2024: $2.25 billion for economic stabilization and $1.57 billion for health, education, and power.

2025: $632 million for nutrition and education.

Afrexim Bank loan: $3 billion was secured in August 2023 by the Nigerian National Petroleum Company (NNPC) to stabilize the naira.

Approved 2025–2026 borrowing plan: In July 2025, the Senate approved an external borrowing plan that includes:

$21.5 billion in loans

€2.2 billion in loans

¥15 billion in loans

Purpose: These external loans are intended to fund infrastructure projects, including railways, the Lagos-Calabar highway, and critical sectors like agriculture, health, education, and security. 

Domestic borrowing

First year (June 2023 to May 2024): The federal government borrowed N20.09 trillion domestically by issuing FGN Bonds and Treasury Bills.

Ways and Means Advances: N7.3 trillion in central bank advances was securitized and converted into long-term debt in December 2023.

Domestic bonds for pensions: In May 2025, the president requested approval to issue N757.98 billion in bonds to settle outstanding pension liabilities. 

Impact on Nigeria's debt profile

Rapid increase: The DMO confirms that total public debt surged from N87.38 trillion in June 2023 to N144.67 trillion by December 2024. This rapid accumulation has drawn criticism from citizens and opposition figures like Peter Obi, who question its sustainability.

Growing debt-to-revenue ratio: As borrowing accelerates, a higher portion of the government's revenue is spent on debt servicing, leaving less for essential services and capital projects.

Potential for further increase: The recent approval of the 2025–2026 borrowing plan, which includes billions in new external debt, suggests that the country's debt profile will continue to grow. 

Counterpoint on borrowing

In September 2025, President Tinubu claimed that Nigeria would no longer need to borrow domestically, stating that his government had already met its 2025 revenue target.

He attributed this success primarily to the non-oil sector and a stabilized economy. However, this statement refers to domestic borrowing and follows the already substantial loan amounts approved earlier in the year.

BY JAIYEOLA AJASA.

TERRIBLE NEWS…

Veteran actress Peju Ogunmola loses only child Ayomikun

Star actress Peju Ogunmola has been thrown into deep mourning following the sudden death of her only child, Ayomikun.

The devastating news has left fans, colleagues, and sympathisers in shock, as the entertainment industry rallies around her in this difficult moment.

Reports revealed that Ayomikun tragically lost his life after an accident in the bathroom.

He reportedly slipped and fel, and despite efforts to reach out for help, he could not be rescued in time.

The painful incident has left many speechless, given how unexpectedly it occurred.

Sources close to the family disclosed that Ayomikun, who was said to be living abroad, was alone at the time of the accident.

Unfortunately, the lack of immediate assistance worsened the situation, leading to his untimely death.

Peju Ogunmola, who is based in lbadan, is said to be completely shattered by the tragic loss.

Known for her strength and resilience in both her career and personal life, those close to her say this particular blow has left her inconsolable.

Friends and colleagues have reportedly been reaching out to console her and offer their support.

The veteran actress, daughter of late Yoruba theatre legend, Kola Ogunmola, and wife to popular comic actor Sunday Omobolanle, also known as Papi Luwe, has always been admired for her dedication to the craft of acting.

However, her personal life has now been struck by this heartbreaking tragedy, and fans are sending prayers her way.

THE KING OF MUSIC IN NIGERIA

There isn't a single, definitively recognized best-selling album in Nigerian history due to the shift from physical sales to streaming, but Wizkid's Made in Lagos is considered the best-selling Nigerian album based on combined global physical and digital sales. In the past, P-Square's Game Over was considered a best-seller, achieving 10 million sales, though these numbers are less substantiated than modern streaming data.

For Physical Sales (Historical)

P-Square's Game Over: is often cited as the best-selling Afrobeats album with 10 million sales, though these numbers are from an older era and harder to verify.

Other albums from the late 20th century, like King Sunny Adé's Ase and Majek Fashek's Prisoner of Conscience, also sold hundreds of thousands of copies.

For Modern Sales (Streaming)

Made in Lagos by Wizkid: has achieved over 630,000 global physical and digital sales, making it the best-selling Nigerian album. 

The album also holds the record for the longest-charting African album on the Billboard World Albums chart.

Other Notable Albums and Artists

Burna Boy's Love, Damini: was the best-selling Nigerian album on Apple Music in 2022 and was the second-longest charting Nigerian album on the Billboard 200.

While not necessarily the best-selling, albums like Asake's Mr. Money With The Vibe and Davido's Timeless have also achieved high numbers of units and streams.

THE KING OF FUJI MUSIC

While "most prolific" can be subjective, King Saheed Osupa is frequently mentioned as having a high number of studio albums, potentially surpassing others since the passing of Fuji legend Chief (Dr.) Sikiru Ayinde Barrister. However, K1 De Ultimate (Wasiu Ayinde Marshall) is also noted for his decades-long, prolific career and international success, contributing significantly to the genre's evolution and global appeal.

Key Candidates for "Most Prolific":

King Saheed Osupa:

Known for his profound lyrics and wise messages, Osupa is often cited as having a high output of albums, with some fans believing he holds the record for the most studio albums since Chief Barrister's death.

Wasiu Ayinde Marshall (K1 De Ultimate):

A veteran with a career spanning decades, K1 is credited with innovating Fuji music, introducing new beats, and increasing its appeal to younger audiences and the international market. His prolific output includes numerous albums over many years. 

Other Influential and Prolific Fuji Musicians:

Adewale Ayuba:

A well-respected Fuji maestro, often described as a trailblazer who has elevated the genre's profile through his unique blend of traditional Fuji with contemporary sounds. 

Alhaji Alabi Pasuma:

Another highly influential artist in the Fuji scene, recognized for his consistent performance and significant contributions to the genre.

THE SHOCKING FUJI FACT. NOT AYINDE BARRISTER. BUT AYINLA KOLLINGTON.

THE highest-selling and most popular Fuji album of all time is generally considered to be Ijo Yoyo by Alhaji Kollington Ayinla. This album from the late 1980s was a commercial success and created a new style of music and dance, solidifying its place in Fuji music history.

Key aspects of Ijo Yoyo's success:

Commercial Success:

It is widely acknowledged as the most commercially successful Fuji album ever. 

Cultural Impact:

The album introduced a new dance and a party atmosphere that was highly popular in the region at the time. 

Legacy:

"Ijo Yoyo" is considered a landmark achievement in Fuji music, cementing Kollington Ayinla's legacy