On 18 September 2023, President Bola Tinubu gave a speech from what could be called the grandest stage of them all – the United Nations General Assembly in New York. It was his maiden speech on such a stage. For a first speech at the UN, I feel Tinubu performed above expectation. Overall, I would score him a B. There is however still a big room for improvement.
The speech highlighted five themes- (a) the need for global institutions and other nations to see Africa as a priority (b) an affirmation of democratic governance as the “best guarantor of sovereign will”, (c) the challenges posed by violent extremism, (d) Problems of illicit mining and pilfering by extra-African powers and companies and (e) the threats posed by climate change.
On a grand platform like the UNGA, speeches by Presidents tend to simultaneously target at least two publics – the world leaders gathered for the UNGA and the audience back home. Tinubu’s speech seemed to give about 55% weight to its African audience, 35% to its Nigerian audience and 10% to the world leaders (in terms of proposals for meaningful engagement other than grandstanding). Since Tinubu is neither the Chairman of the African Union nor has anyone appointed Nigeria the leader of the continent (despite our tendency to proclaim the country ‘the giant of Africa), using most part of his speech to soldier for Africa, is, in my opinion, inappropriate. In fact, it could sit on the wrong side of other African leaders who often resent the tendency for Nigerians to see the leadership of the continent as their entitlement.
The speech should also have been more sensitive to two charges often levelled against African leaders whenever they appear with their non-African counterparts in multilateral organizations, especially with those from the global north – ‘begging bowl syndrome’ (where they invariably come to ask for financial assistance) and ‘victim complex’ (where they moan of how they are disadvantaged by the global system, including the sins of slavery).
Given these expectations from non- African leaders, smart speech writers find ways of not making their speeches self-fulfilling prophecies to their non-African critics while still subtly infusing a little measure of the feel-good theories and phrases that excite the audience at home. One way some try to do this is for the speech to be politely assertive while emphasizing that what they want is partnership, not financial handouts. Excessive grandstanding and playing to the emotions of the audience at home cannot cut deals with the world leaders who today hold both the knife and the yam.
President Bola Tinubu’s speech tried to ingratiate the African and Nigerian publics occasionally to the point of unnecessary arrogance. Instances include: “We welcome partnerships with those who do not mind seeing Nigeria and Africa assume larger roles in the global community.” “The question is not whether Nigeria is open for business. The question is how much of the world is truly open to doing business with Nigeria and Africa in an equal, mutually beneficial manner.” “African nations will fight climate change but must do so on our own terms.” “Africa is nothing less than the key to the world’s future.”
The above bold (or arrogant) assertions were however contradicted in the same breath by a plea for a version of the Marshall Plan for Africa – among other begging bowl syndromes. The Marshall Plan, named after the US Secretary of State, George Marshall, (who in 1947 proposed that the United States should provide massive economic assistance to aid the reconstruction of post-war Europe), resulted in the US Congress appropriating $13.3 billion in 1948 (a staggering sum in those days) for European recovery over the next four years. Essentially you cannot be arrogantly declaring that you are the key to “the world’s future”, and at the same time be pleading for massive financial assistance along the lines of the Marshall Plan. Feel good grandstanding can hardly get African leaders the sort of partnership they should be looking for on a grand stage like the UNGA. At best it will result in pledges of more financial assistance and grants which will paradoxically only reinforce the perceptions of the ‘begging bowl syndrome’ and ‘victim complex’
Part of the preamble to President Tinubu’s speech read: “Many proclamations have been made, yet our troubles remain close at hand. Failures in good governance have hindered Africa. But broken promises, unfair treatment and outright exploitation from abroad have also exacted a heavy toll on our ability to progress.” I believe this preamble speaks well to the different publics- admitting issues with domestic governance will be sweet music to the ears of the world leaders expecting the ‘usual’ victim complex and begging bowl syndrome. The bit about “broken promises, unfair treatment and outright exploitation from abroad” will also play well with African and Nigerian publics. If only the soldiering for Africa had stopped there! But it went on and on throughout the five themes to the point of grandstanding and then undermined it all by resorting to the begging bowl syndrome of asking for a Marshall Plan. Apart from a casual mention of his removal of fuel subsidy and flotation of the Naira, world leaders are not made aware of any new opportunities in Nigeria or other African countries that may excite their interest.
While I regard the fourth limb of the speech – on the pilfering of the continent’s resources with the active connivance of some countries and entities from the global North – as very bold and spot on, there are some sentences in that section that are either ambiguous or seem disconnected from the discourse. For instance: “Foreign entities abetted by local criminals who aspire to be petty warlords have drafted thousands of people into servitude to illegally mine gold and other resources.” What exactly does this statement mean? And how exactly does illegal mining draft “thousands of people into servitude”? People will actually argue that people go to work in illegal mines to escape from poverty, not the other way round.
On climate change, Tinubu declared: “African nations will fight climate change but must do so on our own terms. To achieve the needed popular consensus, this campaign must accord with overall economic efforts.” You cannot be calling for global partnership and at the same time be saying it must be done on your own terms. The speech writers also seemed to be unaware of the fact that 54 African countries have ratified the 2021 United Nations Climate Change Conference – also known as the Paris Agreement (or COP21). African leaders also undertook to implement the Nationally Determined Contributions (NDCs) and National Adaptation Plans (NAPs) that they submitted as part of their commitments to reducing emissions and adapt to climate change. The speech writers equally seemed unaware of the fact that ministers from governments across the continent signed the continentally expanded Kampala Ministerial Declaration on Migration Environment and Climate Change (KDMECC-AFRICA), which has been adopted by 48 African states. In essence there is already a consensus among African countries on how they will fight climate change.
On presentation, the President did fairly well. His diction was distinct and clear and he paced his reading well. But the entire presentation would have been better if the President had used a teleprompter or a tablet and avoided this habit of licking a finger to help him to turn a page of the prepared speech. There is also the small matter of dress code.
Just like English language has become the language of international commerce and technology, the English suit has also become the international dress code for multilateral organisations. True, we should be proud of our culture. But in the absence of a national dress culture for the country, Nigerian Presidents adorning their ethnic cultural dress to such meetings only end up emphasizing their provincial identity when they should be a symbol for all Nigerians. Besides, if our Presidents do not plead culture while reading their speeches in English language or communicating with mobile phones and other modern gadgets, why must they plead culture when it comes to dress code?
In the wake of the recent collapse of a flyover bridge in Enugu, the Federal Road Safety Corps (FRSC) has taken swift action by issuing a crucial traffic advisory to motorists.
The incident has led to the diversion of traffic along the Enugu–Port Harcourt Dual Carriage Expressway.
According to a statement released on Tuesday, September 26, 2023, by Assistant Corps Marshal (ACM) Bisi Kazeem, who serves as the Corps Public Relations Officer (CPEO), the collapsed bridge is located at the new Artisan Market on the Port Harcourt-Enugu dual carriageway in Enugu State.
The unfortunate incident occurred on September 25 at 12:30 p.m., significantly disrupting the flow of traffic along this route.
To alleviate the inconvenience caused by the bridge collapse, Kazeem has offered a set of alternative routes for motorists.
- “Motorists travelling from Portharcourt/Aba to Abakiliki are advised to use the route through Bricks at the new Kenyatta Market (Army Check Point)-Okpara Square.
- This route will guide them to New Haven junction by Otigba Roundabout, through Ogui Roundabout-Abakpa junction (82 Division), and onward to Abakiliki.”
- On the other hand, motorists travelling from Abuja/Abakiliki to Aba/Port-Harcourt are encouraged to follow the route via Abakpa Junction (82 Division)-New Haven junction by Otigba Roundabout.
- From there, they should proceed “through Ogui Roundabout to Okpara Square” and then continue on the “Enugu/Port Harcourt dual carriageway,” passing through the new Kenyatta Market (Army Check Point) on their way to Aba/PH”.
Kazeem emphasized the importance of this advisory travel to prevent motorists from getting caught in unnecessary traffic congestion.
He quoted FRSC Corps Marshal, Dauda Biu, who urged drivers of all vehicle types using this route to comply with the suggested alternative roads and adhere to all road traffic rules and regulations to ensure a safe journey.
What you should know
An overhead bridge located at the New Artisan Market area in the Enugu State Capital came crashing down on Monday morning.
The aftermath of this collapse left one lane of the Enugu-Port Harcourt dual carriageway obstructed by the debris, compelling motorists travelling on this route to seek alternative paths to proceed on their journeys.
According to reports, the bridge collapse occurred with a fully loaded truck and another unidentified truck on the structure.
Fortunately, there were no casualties at the time of the incident, as artisans and residents were just beginning to emerge for their daily business activities.
Beyond politics – Tinubu’s maiden trip to the United Nations General Assembly (UNGA), Atiku Abubakar’s voyage of discovery for Tinubu’s academic records in the United States, revelations regarding how the Presidency lied about the President’s stop-over after the G20 Summit on his way back home at the United Arab Emirates, the increasing failure of the Naira without respite, the proposed strike by organized Labour, and other urgent matters political in the public domain – no other matter has been of greater compelling attention and significance that the sudden, surprising death of 27-year old artist, musician, song-writer, and rapper, Ilerioluwa Oladimeji Aloba popularly known as MohBad or Imole. No other death of an artist has caught the popular imagination in Nigeria in recent times as his. His departure has been like the eruption of a volcano, with the lava spreading uphill and downhill. When beggars die so said the poet, there are no comets seen. But when Princes die, even the Heavens themselves blaze forth the glory. So it has been with MohBad: a life so short, and yet so impactful, more so in death than in life. He was a prince of his art. What lessons can we learn from this phenomenon that has been thrust upon us by fate and circumstances?
Many years ago, in 2007 to be precise, I wrote a piece on the pages of The Guardian newspaper titled “A Nation’s Identity Crisis” in which touting my credentials as a trained expert in dramaturgy, ethnomusicology and the entire range of theatre arts theory and criticism, having taught the same subjects myself, I argued, with special focus on contemporary Nigerian music at the time that an emergent “Naija, Nija, or 9ja” generation had lost touch with their original roots. I raised questions about a palpable slip into the “age of abbreviations” of talent and everything else, characterized by the emergence of a new generation that was in “a hurry.” It was a comparative essay between the old tradition and the “post-modernist, deconstructive temper of emergent youth culture which as I argued was marked by a Grunge character that suited non-meaning and alienation. That piece I believe should be available online in this season of social media reality. In it, I praised the old culture, the musicians of the earlier generations – the 60s till the 80s – whose music had a proper complexus of sound, shape, sense, skills and authenticity as major highlight. In contrast, I found contemporary music then to be highly deficient in the same respects, bogged down as it was by populism, commercial appeal, wannabe affectations and a befuddling lack of depth. Accordingly, I predicted that many of the emergent superstars of the period would not survive for long because their talent was not original enough; it was mere hype, propped up by animation and the synthetic piano. In those days, we had artists with swollen heads who thought naively that they had arrived. One of them, Rooftop MC in fact told everyone: “Ori mi wu o, e lagi mo.” I concluded then that “most of the music being produced now will not be listenable in another five years and this perhaps is the certain fate of commercial art that is driven by branding, show and cash.
My intervention stirred the hornets’ nest. For more than two months, the super artistes who felt their ego had been bruised attacked me on the pages of The Guardian and elsewhere. My colleague, Jahman Anikulapo, Arts Editor of The Guardian then, allowed all shades of opinion to flourish. He opened up the pages to a robust debate. Some of those who responded to me included Banky W., El Dee and a host of others. Looking back on those days, I guess I may have been proven right. Many of the musicians I predicted would not make the long-distance run have since fallen by the roadside. Only the truly talented can make that long-distance journey. In the 18th Century in Venice, Italy and Austria, Antonio Salieri was a far more popular composer than Wolfgang Amadeus Mozart in Europe. He got better patronage from the courts. Posthumously, however, Mozart has proven to be the true Amadeus – chosen by God, a true legend, eternally recognized for his genius, not momentary popularity. Salieri remains unknown.
I have given this background to show that the uninformed, the uninvolved who relate to developments in the cultural space, without education, relying on sentiments, may in the fullness of time discover that they may have been driven more by emotions rather than the truth, or a proper, intelligent reflection on the matter at hand. Our departure point is the death, last week, of 27-year-old Ilerioluwa Oladimeji Aloba, a tragedy which has now become a cause celebre. There has been an enormous outpouring of grief from all parts of the world. Processions have been organized in Lagos, Abeokuta, Akure, Benin, Lagos, Ikorodu, Abuja, Wolverhampton, London, UK, Canada and Spain. In New York, MohBad’s image was on the screen at the Times Square. In nearby Ghana, elderly women took to the streets and mourned as they joined others in asking for #JusticeforMohbad - a clear testament to the power of music as a universal, semiotically, unifying referent and language. MohBad’s songs – Feel Good, Ponmo, KoPorKe topped the charts in the UK and elsewhere. He became a greater star in death. Many who have trooped out, asking for justice because they have bought into the narrative that there was foul play in his death, may never have even listened to any of his songs. But his spirit has proven to be stronger in death than in life. In metaphysics, there is this belief that certain spirits are indestructible. Fela. Ayinla Omowura. Victor Olaiya. Fatai Rolling Dollars. Michael Jackson. Bob Marley. In other words, the transcendentalism of the human spirit - but the residue in this matter is the force of good art, further confirmed in the eponymous quote by Horace that “art is long, life is short.” MohBad’ s music seems destined to live beyond him.
It is important for us to ponder on the lessons of his example rather than the attempt to jump to conclusions about the circumstances of his death. The Lagos State authorities have exhumed his body for an autopsy. All the conspiracy theorists who have raised questions about blood that was found in his grave when his corpse was exhumed (those who know insist this is not unusual); those who query why he had to be buried so quickly and in an unbefitting space, those who argue that there is a foul play and that they have an idea about the identity of the killers and their agents should all at this moment clam down and allow the pathologist to do their work, and the security agencies to conclude their investigations. The response of state agents so far is commendable, especially the empathy that has been demonstrated by the Lagos State Government and the Nigeria Police. The creative community has also shown solidarity in a most impressive manner. MohBad is dead and gone. Those who are using his death to fight personal battles, chase clout, gain attention and play games should calm down, and look beyond their own emotions.
There is a MohBad in all of us, a part of him that speaks to the depths of our cravings, outer realities, and fears. Young or old, man or woman, we all wake up every morning hoping that God’s grace will shine upon us. MohBad enjoyed heavenly Grace, no matter how briefly, in life and death. In death, he became a catalyst for the expression of youth angst and despair in Nigeria and elsewhere. Yet he grew up amidst deprivation. It is perhaps true after all that heroes do not wear capes. They could come from the ghettos. MohBad’s mother left his father. He grew up under the wings of a problematic step-mother who has been studiously silent. Good for her. MohBad managed to complete secondary school education and gained admission into a Polytechnic. But he would eventually drop out to pursue his passion: Music. He was brought to the limelight by Naira Marley Records. When he eventually decided to leave this particular label to set up his own: Imole Nation, his travails began. He was hounded from pillar to post by his former Managers. He reported to the police and even sang about his travails in his records. Many of those now shedding crocodile tears heard his cries for help, even in his songs, but nobody raised a finger to help. We are all sad enough in the same space: a random check will reveal millions of persons who had home troubles like MohBad, work troubles as he had, and who also lived in fear and anxiety like him, and who slipped into depression, and who in the midst of it all, made wrong choices, or just one wrong choice that ends it all. MohBad, young as he was, lived an impactful life, but many in his shoes die unsung. Perhaps if he received help and support, not having to bear so much burden at his young age…Think upon these things.
There are many broken children like him, products of a broken home who manage to find their way in life, but whose background limits their chances. The artist who made good, created good music and a sellable brand has been made a further victim of family circumstances. His shameless father has been all over the place, hugging the limelight, proclaiming himself as the father of a dead son. Could he have done something different to keep the boy alive? MohBad’s mother who abandoned him for 15 years suddenly took over his home in Lekki after his death, to attend to visitors. The young widow, Wunmi who had a five-month son for him was so promptly marginalized, the lady’s sister had to cry out on social media! What I remember from some of the reports is that MohBad’s mother has been whining that her son had promised to give her N5 million before he died. What exactly is she missing? Her son or N5 million? According to the reports, concerned persons like Davido and others have contributed funds for the upbringing of the innocent son that MohBad left behind. What is the guarantee that Wunmi, the boy’s mother would not eventually be driven away and eventually accused of killing MohBad, when an inevitable struggle for money and benefits, who-takes-what begins.? Obviously MohBad was too young to write a will. Nobody expects to die so young. Many are in this same boat. You spend your entire life supporting family. When you die and your children are still young, the vultures in the family and among your friends move in to inherit whatever they can - including the wife you left behind. Family members start the war by accusing your wife and her family of witchcraft. In MohBad’s case, some characters even asked for the DNA of his son.
There are more lessons certainly to be learnt, especially by artistes still within the creative space. A major thread of the MohBad narrative has been how he was reportedly maltreated and dehumanized by his former Manager, Naira Marley: anger over his decision to leave the Marlians, death threats, assault, blackmail and intimidation. MohBad decided to establish his own record label and that even worsened his situation. Disc jockeys and radio stations were allegedly instructed not to play his music. On one occasion, he was physically assaulted, He reported to the police but when he was called upon to identify his assailants, he was the one who failed to show up. He was too scared to talk. Imole’s fans are convinced that his travails reflect their own circumstances: the oppression and victimization of youths by power figures in the public and private arenas. This is why in part they ask for justice. It is in the nature of artists and their craft to inspire passion. We urge caution. Many of the people using MohBad’s death to draw attention to themselves -more have turned the ,tragedy into an enterprise, or to chase clout – that is what most are doing, most cynically should please allow the pathologists and the police to do their work, so we can have proper closure.
I find even more curious the indication that MohBad was treated for an ear infection in a hospital – Perez Hospital - by an auxiliary nurse. The said nurse has since been arrested only for us to be told that she is not even a nurse at the named hospital. The hospital has since denied ever treating him and that MohBad was brought in dead, lifeless. I find this curious. Why would a rising star who has enough money to promise his mother a N5 million gift, and enough money to live in Lekki, allow himself to be treated and administered injection by a random nurse at home? Why did he not visit a proper hospital early? The older musicians that I praised were far more circumspect. The more modern singers who emerged after their generation may not have been as talented. This new generation are the worst that I have seen, though. They can sing and dance, and they have been helped by technology, and increased globalization. But this is nonetheless a unique generation that is on drugs. They are also different because their space has been taken over by occultic groups. Artistes are required to be high on certain drugs and pay allegiance to a cabal. It is most difficult to see that the new generation is permanently high on something. This is one of the biggest threats to talent and tradition in Nigeria today. Our artists do not bother to take good care of their personal health. They prefer to buy diamonds. Flashy cars. Fine homes and those pimpernels who appear as if they have just stepped out of God’s beauty parlour. They travel in private jets too. In due course, their investments take a second seat. There is an emerging greater emphasis on vainglory rather than true art, and a definitive colonial mentality in Nigeria’s cultural space, identified in our 2007 analysis, but now more the case with the ills of drugs and occultism to boot. Who will save our artistes?
MohBad’s death is a tragedy that calls for reflection and soul-searching. Is there anything that can be done to assist the multitude in the creative space who have to grapple with issues of relationships, contracts with managers, the devilish context of operation, society’s expectations and the ephemerality and tensions of stardom?
Nigerian attacker, Victor Osimhen has landed in trouble as Napoli are considering a fine for him over his action when susbsstituted in the club’s last serie A game against Bologna on Sunday evening.
Osimhen berated manager Rudi Garcia and angrily approached the bench after his substition in the encounter.
Osimhen missed a penalty in the 0-0 draw against Bologna before he was substituted in the closing stages of the encounter.
But as he left the pitch, the former Lille star looked angry with Garcia and held up two fingers to the coach in an apparent suggestion that more than one striker should be on the pitch with the team still needing a goal.
According to Il Mattino, Osimhen and Garcia will meet at Napoli’s training ground later in the week to discuss the incident and the player could be fined for his outburst.
The report added that Napoli captain Giovanni Di Lorenzo had a ‘harsh’ talk with Osimhen inside the dressing room after the match.
When asked about Osimhen’s furious reaction, Garcia said at his post-match interview: “As for when he went off, we talked about that, what I say to my players remains in the locker room.
“We have a lot of quality in the squad and on the bench, so Simeone, Politano and Elmas came on, I still have Jesper available too,” he said.
Osimhen will now hope to lead Napoli to victory when they face Udinese in their next game on Wednesday.
Lucky Aiyedatiwa, the deputy governor of Ondo State, has petitioned a High Court in Akure, the state capital, for an order prohibiting the state house of assembly from proceeding with the impeachment process against him.
The state assembly began the impeachment process against the deputy governor last week on charges of gross misconduct, but Aiyedatiwa has denied any wrongdoing.
The deputy governor is seeking a declaration that the state assembly is incompetent to proceed with his impeachment and that the action violates his constitutional and fundamental rights to a fair hearing in suit No. AK/348/2023, which was filed yesterday.
He is asking the court to declare that his office, tenure, status, rights, and privileges are protected, guaranteed, and secured by the Constitution. He is entitled to a fair hearing in determining his civil rights and obligations as deputy governor of Ondo State.
Mr Aiyedatiwa is also seeking court orders to prevent the assembly from initiating, continuing, or proceeding with the process of removing him from office, as well as to prevent the Chief Judge of Ondo State from accepting or acting on any request from the state assembly to establish any panel to investigate any acts of gross misconduct against him.
On behalf of the deputy governor, human rights lawyer Ebun-Olu Adegboruwa (SAN) filed the suit in the High Court.
The management of Hilda Baci, the world record-breaking Nigerian chef, has stepped forward to address a widely circulated and contentious interview in which she allegedly broached the topic of her virginity.
Since this past Friday, swirling rumors on social media have insinuated that Baci had granted an interview discussing her “commitment to remain a virgin, despite being in a five-year relationship”.
The reports claimed that Baci had stated, “I might not be single, but I’ve been dating someone, and we agreed on no sex before marriage. I’ve been dating my boyfriend for 5 years now, but no sex; I’m still a virgin”.
On the virtual streets of X (formerly called Twitter), users flocked to their pages to spill their thoughts on the purported interview, with a significant number expressing sheer astonishment.
SEE REACTIONS BELOW
However, during a recent conversation with TheCable Lifestyle, Baci’s management unequivocally refuted the alleged and widely circulated interview, asserted that she never granted such an interview.
The culinary sensation, Hilda Bassey, catapulted into stardom by masterfully shattering the world record for the lengthiest cooking marathon in May.
Her remarkable accomplishment involved an awe-inspiring 93 hours and 11 minutes of non-stop culinary artistry, ultimately securing her a coveted certification as the reigning record holder in June.
The Celebrity Chef recently turned a new age, and she threw a huge birthday for herself on Friday night, September 22.
Then, in July, she unveiled her grandiose aspiration to metamorphose her culinary marathon into a vibrant and sensational festival.
“So, in terms of now making it into something, I want to make the ‘cook-a-thon’ turn into more like a festival that happens in probably in different countries,” she said in a viral Interview
Controversial journalist, Kemi Olunloyo continue to do what she knows best by unraveling questionable details about the late singer, Mohbad’s wife, Wunmi.
The veteran journalist who has been among the people clamouring for a DNA test to be conducted on late singer Mohbad’s son took to her X handle to make another heinous allegation against the widow.
Olunloyo held that Wunmi is the leading suspect as regards Mohbad’s death, stating that her source from the United Arab Emirates (UAE) told her that she planned his death from scratch.
She added that Wunmi has had sexual relations with all the men in the Marlian house, ranging from Naira Marley, Zinoleesky, to Sam Larry.
The controversial newswoman further accused Wunmi of being an active drug user while sharing a video of her accosting NDLEA personnel when they stormed their house to make an arrest.
In Kemi Olunloyo’s words:
“THREAD: ?Police are trying to unravel facts about the death of Nigerian musician Mohbad. “His wife Wunmi is the leading suspect who carefully planned his demise from scratch,” says my UAE ?? source. Wunmi had sexual relations with all the men in the Marlian house in the past 24 months. She reportedly slept with Naira Marley, Zinoleesky, Mohbad and Sam Larry. She’s an active drug user and you saw her in the NDLEA VIDEO attacking an agent. She was so high and disoriented shouting “shoot, shoot” while Seyi was calling her “Wunmi stop it” before the agent NEUTRALIZED her.
#Justice4mobhad #ripmohbad #kemitalks
(Typo) NEUTRALIZES her a term for when DRUG agents in many countries especially the @DEAHQ ??are trained to immediately kill any suspects who try to ATTACK them. Wunmi was lounging at the @ndlea_nigeria agent about to remove his cap possibly punching him in the head. She was incoherent, completely impaired and a danger to herself and everyone around her including the agents making arrests.
See the tweet below:
(Typo) *NEUTRALIZES* her a term for when DRUG agents in many countries especially the @DEAHQ ??are trained to immediately kill any suspects who try to ATTACK them. Wunmi was lounging at the @ndlea_nigeria agent about to remove his cap possibly punching him in the head. She was…
— Dr Olukemi Olunloyo (@Kemiolunloyo) September 26, 2023
Ahead of the November 11 off-cycle governorship election in the states, the Independent National Electoral Commission (INEC) has set October 14 for the mock accreditation exercise using the Biometric Verification and Accreditation System (BVAS) in Bayelsa Kogi and Imo states.
The exercise, which runs simultaneously in three designated units in each of the senatorial zones of the three states, according to the commission, will also be posted on the INEC Results Viewing Portal (IREV).
A statement by the National Commissioner and Chairman, Information and Voter Education Committee, Sam Olumekun, urged voters in the designated polling units to turn out en masse and participate in the test-run event.
“As was the case in recent off-cycle governorship elections, the commission will conduct a mock accreditation using the Bimodal Voter Accreditation System (BVAS) and upload polling units results to the INEC Result Viewing Portal (IReV). The test run will take place simultaneously in the three states on Saturday, 14th October, 2023 from 8.30am to 2.30 pm.
“A maximum of three polling units in each senatorial district have been identified across each of the three states, covering a total of nine senatorial districts and 27 polling units. Lessons learnt from the exercise will be taken into consideration in ensuring a seamless process on Election Day.
“Full details of the polling units, including their locations by Local Government Area (LGA), Registration Area (RA)/Ward, Delimitation Code, and number of registered voters, have been uploaded to our website and social media platforms.
“The Commission appeals to registered voters in the selected polling units to turn up with their Permanent Voters’ Cards (PVCs) for the exercise.
The public is advised that this is strictly a test accreditation exercise and not the actual election.”
The minister of sports development, Senator John Owan Enoh, will be attending the Confederation of African Football (CAF) executive committee meeting in Cairo, Egypt, as Nigeria intensifies its bid to host the 2025 African Cup of Nations (AFCON) tournament.
Nigeria and Republic of Benin submitted a joint bid to host the AFCON 2025 after CAF stripped Guinea rights to stage the event.
The Sports Minister and the leadership of Nigeria Football Federation (NFF) will be attending the meeting as representatives of the federal government of Nigeria.
According to a press statement released on Tuesday by the minister’s media office and signed by Kola Daniel, Nigeria’s delegation will make presentation to CAF’s executive committee during their meeting in Cairo, Egypt.
All countries, who submitted bids to host the AFCON tournament in 2025 and 2027 respectively are expected to attend the meeting during which the independent assessment committee of CAF will submit their reports for assessment and discussions by CAF Exco.
The CAF’s inspection team had previously visited Nigeria to assess facilities at different proposed host venues around the country.
The Nigerian delegation includes the permanent secretary, Federal Ministry of Sports Development, Alhaji Ismaila Abubakar; president of the Nigeria Football Federation, Alhaji Ibrahim Gusau; general secretary of the NFF, Dr. Mohammed Sanusi, and bid coordinator, Mallam Mainasara Ilo.
Nigeria will make a 10-minute presentation to the CAF’s executive committee and, thereafter, will be allocated time to answer questions from its presentation.
The meeting will hold on Wednesday, September 27, 2023.
Mohbad’s mother has recently shed light on her son’s reasons for urging her not to eat at Naira Marley’s house before his demise.
During an emotional interview, she also disclosed troubling allegations of physical abuse her son endured during the production of his EP, despite her attempts to intervene.
Mohbad's mother shares her late son's concerns, allegations of abuse during visits to Naira Marley's house Late Nigerian singer, Mohbad.
In a candid conversation, Mohbad’s mother revealed that on her visits to Naira Marley’s home, her son expressed genuine concerns about her safety, cautioning her against consuming any food or wine offered to her.
She emphasized that Mohbad’s primary reason for visiting Naira Marley’s house was not to dine, as she often observed fasting routines in the mornings.
Furthermore, she revealed that she often chose to stay wherever her son stayed, declining offers to stay at hotels.
In her own words;
“Whenever I go to Naira’s house and I am given food, I won’t eat. Food is not why I went there, and I fast most times in the morning. My son would tell me not to eat it because he does not want me to die. He flushes the wine given to him too. He said he was signed for three years.”