The man, Ocholli Edicha, suspected to be the gang leader of those who led some political thugs to burn Mrs Salome Achejuigu, the PDP women leader to death has confessed that they carried out the dastardly act because he had been nursing a grudge against the woman before the Nov 16th governorship election.
Ocholli who spoke with newsmen shortly after been paraded on Wednesday confessed that he was an All progressive Congress thug who mobilized some other thugs from Ejule in ofu local government area to set the house on fire and reigned mayhem shortly after the election.
It will be recalled that the victim, Mrs Salome Abuh, the Women Leader of Wada Aro Campaign Council, Ochadamu Ward, was said to have been burnt alive in her personal residence when she was resting after treatment from an injury on election day
While reacting to the banal act, the spokesman, Wada/Aro Campaign Council, Faruk Adejoh-Audu had claimed the thugs, shooting sporadically, arrived Hon (Mrs) Abuh’s house at about 2pm on the fateful day and surrounded the house, bolting every exit and escape from outside.
“They then poured petrol on the building and set it ablaze as other terrorized villagers watched from hiding. She reportedly attempted to escape through a window but was prevented by the metal burglary proof and gun shots with bullets raining in her direction.
“The blood thirsty thugs waited, shooting and watching with relish while Mrs Abuh cried from inside the inferno until her voice died out.
they reportedly left only when the entire house and Mrs Abuh had been burnt to ashes” he was quoted to have said
But the police commissioner, Hakeem Busari while parading the suspect with five others said the whole crisis erupted when there was a misunderstanding between one Gowon Simon and one Awolu Zekeri which led to the death of the later.
He said the death of Zekeri led to the mobilization of some angry youths in the town who moved to the house of one Simon Abu who is an uncle to the suspect where the 60 years woman was burnt to death.
The CP who said other suspects are on the run however said as soon as investigation is completed, the suspects will be arraigned in court.
He gave the names of other suspects who claimed they were only arrested differently as armed robbers and not killers of Mrs Abuh as Adamu Haruna, Onu Egbunu, Musa Alido, Attai Haruna and Attah Eje.
Mrs Abuh was buried last Saturday amidst tears.
The post Why we burnt PDP women leader to death — Suspect appeared first on TheNigerialawyer.
Collapses: The Venice Biennale and the End of History
The 2019 Venice Biennale feels like the end of everything: the end of art tourism, the end of vacations, the end of the beach and the climate of pleasure. With bad news about the climate crisis worsening every day, the nationalistic turn of governments from the U.S. to Britain to Italy to India and Brazil, it’s unclear whether the liberal ideology that produces world-scale cultural events like the Biennale can hold much longer, or whether the economic or ecological structures of global tourism can continue to support it. The liberal democratic order of free markets and free will is undermined around the globe by violent nationalism and economic protectionism. The Biennale exhibition, May You Live in Interesting Times, offers little but a hollow scream in opposition. The whole thing feels a bit like buyer’s remorse, a magnum opus from a lapsed believer in Francis Fukuyama’s promise that we’d reached the End of History.1
Joint Italy-EU military vessel with helicopter, Piraeus Port, Greece, August 2019. Photo: Anuradha Vikram
Both the main exhibitions and the various national pavilions feature more women and artists of color this year than any previous. Diversity is manifest with respect to types of work, interests, materials, biographies, and ages of the artists on view. Curator Ralph Rugoff states that “[the artists’] work grows out of a practice of entertaining multiple perspectives: of holding in mind seemingly contradictory notions, and juggling diverse ways of making sense of the world.”2 Diversity and multiplicity appear here to be set up as counternarratives to universalism, the ideology that has historically governed the international contemporary art discourse. But is this in fact the case? Fukuyama says, “The spectacular abundance of advanced liberal economies and the infinitely diverse consumer culture made possible by them seem to both foster and preserve liberalism in the political sphere.” If, as Fukuyama suggests, there are “fundamental ‘contradictions’ of human life that cannot be resolved in the context of modern liberalism, that would be resolvable by an alternative political-economic structure,”3 diversity is not one of those contradictions. Rather, pluralism reinforces the “common ideological heritage of mankind,”4 while fascism’s resurgence around the globe and the popular embrace of nationalist identity are more of a contradiction in light of the realities of international markets. This is the turn of events that market utopians like Fukuyama failed to anticipate.
Rugoff never comes off as a utopian, given his pervasive air of weary detachment. Rather, the exhibition transmits how it feels to watch the ascent of Donald Trump and the unfolding catastrophe of Brexit from the “all-knowing,” cool remove of the contemporary art insider—omniscient, yet impotent, and unable to divest from toxic habits. George Condo, Sun Yuan and Peng Yu, Christian Marclay, and Arthur Jafa channel an anxiety bordering on panic. Construction, shipping, air travel, commerce, monuments, the body, gender—all once fixed as concepts in the Western imagination, with clearly associated positive values, are now invoked by artists such as Yin Xiuzhen, Nicole Eisenman, Slavs and Tatars, and Martine Gutierrez as hazardous, unstable, and volatile. Nowhere is this instability more evident than in the work of Mari Katayama, a Japanese artist whose self-portraiture tableaus tease the boundary between agency and objectification. These artists, more than the comparably straightforward representation advanced by artists like Zanele Muholi, Njideka Akunyili Crosby, or Gauri Gill, capture the zeitgeist of not just the show but the present time. Our historical moment is monumentally catastrophic, and the usual serious response to extremism doesn’t seem to be working. Instead, the images range from abject to absurd.
Indios antropófagos: A Butterfly Garden in the (Urban) Jungle. Peru Pavilion, Venice Biennale 2019. Photo: Anuradha Vikram
Especially relevant are the artists who toy with the fetishization of Indigenous bodies and cultures for Western consumption. Within the main exhibition curated by Rugoff, Gutierrez situates her U.S.-born Latinx, trans body within a series of photographic landscapes, Body in Thrall, that challenge touristic notions of indigeneity, cultural authenticity, and romanticized poverty around non-white people. She occupies diverse personas, from a film noir femme fatale to the terrifying Aztec deity Tlazolteotl, “Eater of Filth,” always negotiating the high fashion aesthetics of desire with a subversive decolonial aggression. Similar themes and tactics appear in Indios antropófagos in the Peruvian Pavilion, curated by Gustavo Buntinx, in which historical artifacts from the Spanish colonial era and large mosaic tile works by Christian Bendayán depicting frolicking Indigenous youth come together in a scathing critique of cultural tourism. In the French Pavilion, curated by Martha Kirszenbaum, artist Laure Prouvost references the oceans and the sea life projected to die out by 2048, only 29 years into the future, with a number of glass animals seemingly cast into the sea floor, strewn across a landscape of refuse and discarded technologies.
Back in the real world, there’s no way to excise or sequester the beautiful parts into a future that can outlast the very real catastrophes happening now. The overwhelmingly urgent need for a complete lifestyle change played in my head over the week following my visit to the Biennale, as I recuperated from a difficult personal and professional year on a seven-day Greek Islands cruise with my young children, partner, and parents. Looking over the waters where thousands of migrants have drowned, from the top deck of a massive, yet outdated, luxury vessel, I considered how the looming climate crisis creates a condition of simultaneous enjoyment of the modern world that is all around us, and a mourning for its obvious and inevitable loss. Is this the end of curating? The traditional role of the curator as guardian of the world’s collected treasures seems as irrelevant as the contemporary job of mounting resource-heavy exhibitions for an international crowd of jet-setters. Conceptualism has begun to rot from the head, as when Rugoff controversially chose to include Christoph Büchel’s installation of a salvaged boat that, in 2015, sank in the Mediterranean with more than 800 people aboard. I reflected on this watery tomb, recommissioned as a tourist attraction, while looking out across Piraeus port. In the distance, a military troop (jointly operated by Italy and the European Union) performed exercises atop a warship in a city where anti-immigrant attacks are on the rise. In the seventeenth century, the Venetians gained and lost control of Athens in a rivalry with the Ottomans. Today, it seems the EU’s primary objective in the Mediterranean is to sever thousands of years of interconnection between these three regions. Two years ago, the regenerative promise of art as a universal cultural good was undermined when documenta 14 recreated the financial dynamics of German austerity policies in Athens, Greece afresh. Debts went unpaid, workers uncompensated, all in the name of “fiscal responsibility” that nearly shuttered the sixty-year-old event for good. What better outcome ought we to expect this year from an art event born out of universal nationalism?
Halil Altindere, Space Refugee, 2016. May You Live in Interesting Times, Venice Biennale 2019. Photo: Anuradha Vikram
An explicitly utopian impulse is fugitive in May You Live in Interesting Times, but it manifests in the intersection of art, science, and technology. Margaret and Christine Wertheim’s Crochet Coral Reef raises awareness about preservation of the oceans through a crowdsourcing practice that combines mathematical learning with environmentalism and craft. Tavares Strachan’s meditation on African American astronaut Robert Henry Lawrence, Jr., locates metaphysical discourse about the afterlife within a scientific conversation about space travel—where elsewhere Halil Altindere complicates this view with the tale of Syrian cosmonaut Muhammed Ahmed Faris and his persecution by the state. Ryoji Ikeda bathes us in cleansing white light and describes a massive, thunderous universe of data that takes breathtaking shape before our eyes. Hito Steyerl’s This is the Future is a post-internet pastorale in which computer vision is applied to the Venetian landscape to depict a state of perpetual, dreamlike futurity in which the present persistently refuses to resolve into view. The protagonist of Steyerl’s installation seeks out a garden that she had previously hidden in the future in order to protect it from the ravages of the present.
The song of the Lithuanian Pavilion Sun & Sea (Marina) still rings in my ears:
“When my body dies, I will remain,
In an empty planet without birds, animals and corals.
Yet with the press of a single button,
I will remake this world again”
The finale of Sun & Sea (Marina) details the 3D printing of facsimiles of species in widespread collapse, taking comfort in their simulated resurrection as one would in the cold rays of a dying sun.
The gentle tenor of the apocalyptic visions in Sun & Sea (Marina) perfectly encapsulates the feeling of living at the outside edge of the story of the human species on planet Earth, with the knowledge that history as we know it may well be about to end because our species is one of millions undergoing collapse. The emptiness of our endeavors is invoked by Shilpa Gupta, whose wildly swinging metal gate hammers an effigy of national borders into a gallery wall. Otobong Nkanga’s drawings in acrylic on crayon reference the mechanical, industrialized nature of exploitation in the 21st century. Unlike the bees, whose society is organized around abundance, we humans have engineered systems to maximize our suffering. If humankind can truly lay claim to a common ideological heritage, as Fukuyama once argued, we have only ourselves to blame for our impending end.
Mrs Acheju Abuh, the (PDP) women leader for Wada/Aro Campaign Council has been set ablaze by suspected political thugs.
It is understood that she was set ablaze while in her home at Ochadamu in Ofu local government area of Kogi state following last Saturday’s governorship election in the state.
Reports have it that Mrs. Abuh was burnt on Monday afternoon by suspected thugs said to be loyal to the APC in the state.
gathered the thugs invaded her home at about 2:00pm, locked all exits in the house and poured petrol on it before setting the place on fire.
The suspected thugs then went ahead to prevent local residents from coming to the rescue of the woman as they shot sporadically to scare people away and stayed put until the building had been razed.
Her attempt to escape through a window was prevented by the metal burglary proof and gun shots from the thugs.
Speaking on the matter when contacted, the spokesman of the Kogi Police Command, William Aya, who confirmed the incident, said it was a case of culpable homicide and mischief by fire.
He added that security operatives have been drafted to the area to prevent further breakdown of law and order.
According to him, on November 18, 2019 at about 4:30 pm, one Musa Etu of Ochadamu, Ofu LGA reported at the station that, at about 1030 of the same date, there was a misunderstanding between one Awolu Zekeri, aged 35 years member of APC and one Gowon Simeon, a member of PDP both of Ochadamu.
“In the process, Gowon Simeon stabbed Awolu Zekeri with a knife on his lap and he (Zekeri) died on his way to the hospital. “As a result, angry youths in the area mobilized to the house of one Simeon Abuh of same address who is an uncle to the suspect, set it ablazed, thereby burnt one Salome Abuh aged 60 years.
“Three other houses were equally burnt. The corpse has been moved to the University Teaching Hospital Mortuary Anyigba for Autopsy.
“Meanwhile, the Police Mobile Force and Police Special Forces have been drafted to the area to prevent any breakdown of law and order. The investigation is ongoing”, Aya said.
Captivating, confronting, engaging, excruciating but most of all honestly extreme. Exactly as it should be! This is a brief introduction of feelings and emotions that gripped me intensely the first time, plus all ensuing times I’ve listened to Cattle Decapitation’s 2019 masterpiece and easily my album of the year so far, Death Atlas.
Absolutely never a band to shy away from confronting their audience, it has always been Cattle Decapitation’s intent to be unrelenting and unrepentant in their extreme metal mastery. They have never made apologies within their bleak yet truthful message over the course of their past two albums, Monolith Of Inhumanity  and The Anthropocene Extinction  of the plight of the world and our destructive patterns and habits as a pathetic human plague destined for extinction.
Death Atlas opens with the prologue “Anthropogenic- End Transmission”. A monologue draped by a soundscape of desolation. A fog of despair lures us into the foreshadowing world of Death Atlas as seen through the lens of Cattle Decapitation…And then the magnificently catastrophic “The Geocide” drops like a nuclear bomb on the senses, clearly setting the bleak scene yet malevolent pace at which Cattle Decap wish to, as a means of sonic visualisation, deliver their uplifting message of human extinction. “The Geocide” is the perfect opener to slate the thirst of Cattle Decapitation fans and a deathly sigh of relief shall emanate from your parched throats as you are decimated with familiar territory.
“Be Still Our Bleeding Hearts” is a pummeling fuck machine of emotion! Clearly at the beginning of the track there is nothing but hatred , yet early on there is an ebb and flow of musical brilliance and dichotomy within the band that sees them battling one another to cohesively bind eachother forming a perfect incoherent tragedy. So the song is aptly titled “Be Still Our Bleeding Hearts”. A third of the way in, the chorus kicks in and here we hear vocalist Travis Ryan’s first stunning attempt at clean extreme vocal clarity with decipherable lyrics to paint a picture of what is presented before us.
The addition of a second guitarist in Belisario Dimuzio, complimenting Josh Elmore, adds a new found songwriting element expanding the ability of more pronounced and accentuated razor slicing clarity and lead breaks rarely touched on on previous Cattle outings. The songs are harsher and thicker (courtesy of new bass player Olivier Pinard) in dimension and scope which, thanks to the incredible production capabilities of long time Cattle producer Dave Otero who has managed to produce one of the best death metal albums for this decade.
“Vulturous” rumbles in like an imminent, destructive tsunami. Slow and full of groove it pulses with murky intent before the arrival of a wall of noise and armageddon is erected to sand blast our ears with scathing hate. The groove that follows the previous moments is nothing short of incredible. “Vulturous” is a song in chapters that engulfs the listeners in many emotions that is hard to honestly decipher at such an early point within the album. Following is the brief intermission of catastrophic memories of Death Atlas so far, “The Great Dying”, is a dialogue of themes we’ve already heard and are without question not done with yet. The female reader is un-subtly framed by thick choking sounds swirling around her as she warns of more unrelenting chaos to follow. Which bleeds into the first glimpse we got of Death Atlas nearly three months ago – “One Day Closer To The End Of The World”. Classic Cattle Decap! A galloping tirade of brilliant malevolence. Whilst there seems to be nothing but enormous tragedy as the main protagonist of Death Atlas, this album is Ryan’s first where he truly utilises his singing talent for the first time. And it seems as though he finds it as a means to promise albeit fruitless. You can truly get a firm grip on why Travis is without question one of the best, most gifted and diverse metal vocalists on the planet. His voice paints a myriad of pictures and emotions it is so easy to get lost in the images depicted and visualised thanks to his medium of choice.
Out of “One Day Closer To The End Of The World” into our second unearthing of what you’ll hear on Death Atlas was “Bring Back The Plague”. Summoning the rage and clarity before us, this track embodies the album title’s true nature. No mincing words or apologies for lack of discretion. This track epitomises all that Cattle Decapitation are! Intelligent, thought provoking and unapologetic!
An album full of idealistic hope – Negative optimism or nihilistic positivity, Death Atlas runs through a universe of unachievable hope via tales of our race’s unrepentant and destructive tendencies upon our planet and own lives regardless of our best laid plans to right the wrongs we have willingly adopted as a standard method of self-imposed annihilation. As Travis Ryan has stated recently on his thoughts of Death Atlas, we need look no further than the last twenty minutes of the album to hear their best yet bleakest work. I’ve given you enough detail as to how undeniably and simply perfect Death Atlas is. Your task is to now delve into its extreme brilliance and emerge on the other side forewarned and well equipped to make a difference.
Simply, if the five members of Cattle Decapitation were the last men living on this planet, it will be because they exemplify and harnessed the will through every extremity the world inflicts upon itself and they were chosen to write the soundtrack and script to the demise of the population they graciously loved but we’re forced to mourn due to complacency and self disregard!
Whilst Monolith of Inhumanity and The Anthropocene extinction were both incredible feats of extreme metal leading Cattle Decapitation up to this point, it is undoubtedly obvious underneath all their foreboding and tragic notions contained therein were precursors to what is heard within Death Atlas. Make no mistake that as we metal fans near the end of this decade and closer to our end, Death Atlas is a superbly crafted, perfect album delivered by Travis, Josh, David, Belisario and Olivier which will for many years to come be Cattle Decapitation’s shining light disguised as a tragic legacy.
Death Atlas, courtesy of Metal Blade is out on Black Friday – November 29th and can be pre-ordered here
DON’T MISS CATTLE DECAPITATION’S 2020 AUSTRALIAN TOUR
THURSDAY 13TH FEBRUARY – THE BRIGHTSIDE BRISBANE
FRIDAY 14TH FEBRUARY – THE FACTORY THEATRE, SYDNEY
SATURDAY 15TH FEBRUARY – CAMBRIDGE HOTEL, NEWCASTLE
Ask yourself which toys are most collectible: train sets, die-cast cars, and – it almost goes without saying – Star Wars figures. The most obsessively collected examples tend to have one thing in common – they were originally marketed at boys.
While these toys aren’t collected exclusively by men, women are less likely to have vast collections of them. So which vintage toys are women seeking out?
Thanks to her peculiarly oversized head and bulging eyes that change colour with the pull of a string, not many girls wanted to play with Blythe when she was introduced in 1972.
But Blythe has become strangely popular in recent years and original dolls now sell for between £500 and £2,000, depending on their condition.
“They were only released for a year,” says Laura Kate Shippert, one of the organisers of BlytheCon UK, which was held in Bristol earlier this month. “They failed terribly; people thought they were a bit freaky and scary.”
Their popularity in recent years was sparked by a book called This is Blythe, in which photographer Gina Garan featured the dolls artfully posed like real fashion models. Others then started picking up second-hand Blythe dolls – which were relatively cheap at the time – dressing them in glamorous outfits and photographing them in exotic locations.
The renewed interest has led to new Blythe dolls being produced, known in the community as “Neo Blythes” – and these are pretty valuable too.
“They are anywhere from £100 to £400 new, then after a while some become more popular and harder to find, and the prices will fluctuate,” says Laura Kate.
She has 17 Blythe dolls, but only one is an original from 1972. She paid £400 for it about 10 years ago, which was “a steal” even at the time.
Laura Kate considers her own collection to be quite small compared to other people’s.
“I know someone who owns like 40 of them and I think ‘but you could own a house’,” she says. “If that’s what makes her happy and that’s what she wants to spend her money on, she’s an adult, she can make her choices. It’s not cocaine.”
My Little Pony
The My Little Pony phenomenon began when the toys were launched in 1982. About 150 million ponies were reportedly sold in the 1980s, with their popularity boosted by an animated TV series. Actor Danny DeVito even lent his voice to the 1986 film My Little Pony: The Movie.
Martina Foster loves My Little Pony so much she has a “pony room” in her house filled with somewhere between 2,000 and 3,000 of them, worth between £10,000 and £15,000.
Martina was seven years old when she was given her first one – a pony called Tootsie printed with lollipop “cutie marks”. She rediscovered them while searching eBay as a student, then got her old ones out of the loft.
“I thought, ‘I’ll buy the ones that I always wanted, just for fun’,” she says. “Then you get sucked into it.”
Martina says the market fluctuates but rare ones in good condition can now fetch thousands of pounds. The most she has spent is a £200 for a pony called Rapunzel – “a bargain” because it is now worth about £500.
Martina is vice chairman of this year’s UK PonyCon, which is being held in Nottingham this weekend. As well as attracting collectors of the original toys, the convention attracts fans of the My Little Pony: Friendship is Magic animated series, which launched in 2010.
While My Little Pony was marketed towards girls in the 1980s, many fans of the animated series are adult men.
“It is fairly watchable even for grown-ups,” says Martina. “You can watch it as an adult and there are some witty things in it and in the end it’s all about friendship and accepting other people.”
Pippa was marketed as “the pocket money fashion doll” when she was sold in the 1970s, but Vectis Auctions has sold Pippa dolls for as much as £1,400 in recent years. She and her friends are much shorter than normal fashion dolls at only 6.5 inches (16.5cm) tall, which meant production costs were low.
Heather Swann started collecting them about 20 years ago after picking one up in a charity shop for 50p. She wanted to collect them as a way of recapturing her childhood.
“Isn’t that why people collect toys?” she says.
After Heather’s charity shop find she started buying more dolls through eBay.
“They were much cheaper then, as ladies of a certain age were just beginning to find them,” she says. “Unfortunately they are now becoming expensive and many collectors are after them.”
Heather describes her collection of about 50 dolls as “medium size”, as many women have hundreds. She has seen individual dolls sell for hundreds of pounds but the most she has ever spent is £40.
“I don’t tend to buy the expensive dolls, I now just look out for the ones which need a transformation,” she says. “I enjoy the process of restoring them.”
Care Bears were originally painted in 1981 to appear on greetings cards, before the characters were turned into soft toys in 1983. A television series followed, as did books, a plethora of merchandise, multiple LPs and a film in 1985 for which Carole King was persuaded to write and perform songs for the soundtrack.
Jennifer Hawkins loves Care Bears so much she had her favourite one, Bedtime Bear, tattooed on her arm.
“I was looking around earlier and I think I’ve got something Care Bears-related in every room, except my bathroom,” says Jennifer, who lives in Gloucester with about 200 Care Bears.
“But they make me happy so I’m quite happy to have them everywhere. I like the cuteness, I like having the little faces to talk to, I like the fact that they represent different feelings.”
Jennifer got one of her favourites – called Beanie – “as a comfort” when her grandfather died the day after her 14th birthday.
“He [Beanie] comes pretty much everywhere with me now,” she says.
She estimates her collection is worth “a few thousand”. The most she spent on an individual bear was £140, which was a 25th anniversary version of Bedtime Bear, and resisted the temptation to spend £500 on an original 1980s Bedtime Bear that was still in the box.
“Unfortunately I can’t afford to spend a month’s rent on one bear,” she says. “That’s definitely a bit too much.”
Barbie was launched in 1959 and swiftly became a cultural icon, gathering fans among each new generation of girls.
Linda Richardson was not one of them. When her mother gave her Barbies, she chopped their heads off.
“My passion was always cowboys and Indians and motorbikes and all that stuff,” says Linda, who lives in Cumbria. But she now has an “obsession” with dolls and has more than 500, worth about £35,000 at a “conservative estimate”.
Her passion was ignited 15 years ago on a trip to buy presents for her son.
“I saw these Native American Indians and they happened to be Barbies and that just set it off, really,” she says.
She did not buy the dolls at the time but started researching Barbie online and “found a whole new world”.
Most of the ones she buys are aimed at collectors, rather than the typical Barbie dolls made for children. She keeps them protected behind glass doors in a room lined with bookcases.
She also has some “de-boxed” dolls she puts in dioramas, photographs and posts on Instagram. “It’s just something to do,” she says. “It keeps me out of trouble.”
Others favour Barbie’s rival, which went on to become the best-selling fashion doll in the UK when it launched in 1963.
Melanie Quint only had one Sindy as a child but now has 60 or 70, worth between three and four thousand pounds.
“I decided to sell all of my childhood dolls and when I looked on eBay I realised there was this massive collecting and restoration community,” she says.
Instead of selling her dolls she ended up buying more.
“It’s nostalgia at the end of the day,” says Melanie. “You look at the face and the doll and the fashions and it takes you back to the way you were when you were a child.”
Melanie now runs Dollycon UK, which is for collectors of all dolls but has a particular focus on Sindy. A particular highlight is the “hilarious” cosplay competition, where people dress up as particular dolls.
“It’s very tongue-in-cheek,” says Melanie. “They pick some of the weird outfits, the 70s stuff. It’s really funny seeing what they do.
“We had one woman last year who dressed as Action Man Frogman, in a full suit with flippers on. I couldn’t speak, it was hilarious.”
Children rescued from the school were said to have been abused and starved
More than 300 captives, most of them children and many in chains, have been rescued from a building in the northern Nigerian city of Kaduna.
All the children, seen by a Reuters reporter at the scene, were boys aged from five to their late teens. Some had their ankles manacled and others were chained by their legs to large metal hubcaps.
Police said the building housed an Islamic school and that seven people had been arrested in the raid on Thursday. It was not clear how long the children had been held there.
The state government is currently providing food to the children, said Yakubu Sabo, the Kaduna police spokesman. We have identified two of the children to have come from Burkina Faso, while most of them were brought by their parents from across mostly northern Nigerian states.
Sabo said those arrested were teachers at the school.
Reports in local media said the captives had been tortured, starved and sexually abused. Reuters was not immediately able to confirm those reports, though marks that appeared consistent with injuries inflicted by a whip were visible on one boys back.
Islamic schools known as almajiris are common across the mostly Muslim north of Nigeria, the poorest part of the country where most people live on less than $2 a day. Parents often opt to leave their children to board at the schools.
The children have been moved to a temporary camp at a stadium in Kaduna, and will later be moved to another camp in a suburb of the city while attempts are made to find their parents, police said.
Some parents who had already been contacted went to the school to retrieve their children.
We did not know that they would be put to this kind of harsh condition, one parent told Reuters.
Islamic schools in Nigeria have long been dogged by allegations of abuse and reports that some children were forced to beg on the streets of northern Nigerian cities.
Earlier this year, the government of President Muhammadu Buhari, a Muslim, said it planned to eventually ban the schools, but would not do so immediately. It followed a number of reports in the Nigerian media that the government planned to outlaw such schools.
London (CNN)Ginger Baker, notorious hellraiser and celebrated drummer in the supergroup Cream, has died at the age of 80 at a hospital in the United Kingdom.
Psychedelic rock band Hawkwind, which worked with Baker, tweeted their condolences on his death Sunday.
“Fly high Ginger! You were a one off and and a true legend…We were honoured to work with you…RIP,” the band’s Twitter page said.
Spandau Ballet songwriter Gary Kemp and film director Edgar Wright also paid tribute to a musician who inspired countless others.
Baker grew up in Lewisham, south London, son of a bricklayer. His father was killed in World War II when Baker was only four years old. Bullied at school, he began playing drums at the age of 16, and, and was earning a living as a professional musician a year later, becoming a fixture of London’s 1950s Soho jazz scene.
He learnt about African rhythms from his hero, another British jazz drummer Phil Seaman — who also introduced Baker to heroin, a habit that scourged much of his life.
In 1962, Baker replaced Charlie Watts as drummer in the blues band Alexis Corner’s Blues Incorporated when the latter left to join the Rolling Stones.
Baker then joined the Graham Bond Organization, a blues band that quickly became popular in the UK with Bond and bassist Jack Bruce with whom Baker had a legendary tumultuous relationship. The Graham Bond Organization ended when Baker fired Bruce at knifepoint.
Baker decided to form his own band and invited guitarist Eric Clapton to join him. Clapton agreed to join with Baker to form Cream in 1966 — if Bruce came too — and the world’s first rock supergroup formed by already established musicians was born.
“He saw something about me that I never thought before, he would say it is about time,” said Clapton in the acclaimed 2012 documentary about Baker “Beware of Mr Baker.”
“Ginger was pretty dismissive and anti-social, seriously anti-social but he had the gift, he had the spark, the flair, the panache … he had it in spades.”
Jazz was Baker’s first love
After just two years Cream split, due largely to the tension between Bruce and Baker, having trail-blazed musical techniques that led many to call it the first ever heavy metal band. Baker also played the first ever long on-stage drum rock solos. Baker and Clapton continued with the group Blind Faith but only for a year.
His next venture was Ginger Baker’s Airforce — band that fused rock with jazz and African influences. Again, that only lasted just a year.
But jazz was always Baker’s first love, and during this period he also played alongside some of jazz’s greatest drummers such as Max Roach and Elvin Jones before deciding to put his drumsticks where his heart was and drove his Range Rover across the Sahara Desert to Nigeria.
There he hooked up with the father of Afro-beat, the legendary Fela Kuti, and for a while the two men were inseparable. Baker set up Nigeria’s first 16-track studio and stayed there for several years.
Ex-Beatle Paul McCartney recorded his classic 1973 album “Band On The Run” there with his band Wings. Baker also learnt to play polo in Nigeria, a passion that remained with him forever, but led to a fall-out with Kuti as many of the members of the Lagos Polo Club were Kuti’s enemies.
After he left Nigeria Baker moved to Italy where he ran a wine ranch and then he moved to the US. He continued to play with some of the great names of rock ‘n’ roll including Public Image Ltd, the band of former Sex Pistols front man Johnny Rotten.
Cream first reunited in 1993 at the Rock & Roll Hall of Fame in Cleveland, Ohio. Twelve years later, they played their first full reunion shows at New York’s Madison Square Garden and the London’s Royal Albert Hall. Jack Bruce died in 2014.
Baker spent his last years on a ranch in South Africa with his polo horses.
His daughter said he suffered “from many long term conditions” notably chronic obstructive pulmonary disease, which “he spoke of in many more recent interviews,” she said in a statement Sunday.
Cream was inducted into the Rock and Roll Hall of Fame in 1993. In 2006 the band received a Grammy Award for lifetime achievement. Baker was also nominated for a Grammy in 1968 as Best New Artist.
Sen. Bernie Sanders (I-VT) campaign announced Wednesday that the presidential candidate had two stents inserted after the discovery of a blocked artery and that he will cancel his upcoming events for now.
During a campaign event yesterday evening, Sen. Sanders experienced some chest discomfort. Following medical evaluation and testing he was found to have a blockage in one artery and two stents were successfully inserted, Senior Advisor Jeff Weaver said in a statement.
Sen. Sanders is conversing and in good spirits. He will be resting up over the next few days. We are canceling his events and appearances until further notice, and we will continue to provide appropriate updates, he continued.
Sanders, 78, has maintained an extraordinarily busy schedule for years, tracing from his first presidential run to the midterms and now his second bid for the presidency.
The senator was among the ten presidential candidates set to appear Wednesday in Las Vegas for an MSNBC-hosted gun-control forum, and had events scheduled in California in the days after.
After announcing a massive fundraising haul of $25.3 million on Tuesday, the Sanders campaign had also purchased its first television ad buy in Iowa, a key early primary-voting state.
Those ads began to get canceled on Wednesday, though an aide to Sanders said that it was simply a postponement.
A heart stent is a non-surgical procedure that places a metal device into the arteries, propping them open to increase blood flow to the heart. The routine procedure is often carried out as a preemptive measure when a patient experiences chest pain and there is a potential risk for heart attack, Harlan Krumholz, a cardiologist and health care researcher at Yale University and Yale-New Haven Hospital, told The Daily Beast.
The timing of Sanders chest pain is key, according to Krumholz. If the pain occurred while at rest, it is likely something known as unstable angina, which is often caused by a reduced blood flow to the heart. Basically, there wasn't enough blood flow to the heart, so something that is potentially very dangerous has now been managed, Krumholz said of the stent.
According to Krumholz, the procedure can be outpatient, but doctors typically observe a patient for 24 hours in case of complications. Most people have a rapid recovery and can resume their activities shortly, he said.
After the news broke, Sanders 2020 Democratic competitors issued statements hoping for his well being.
Among them, Sen. Elizabeth Warren (D-MA) tweeted, Bruce, Team Warren, and I are sending all our best wishes for a speedy recovery to @BernieSanders. I hope to see my friend back on the campaign trail very soon.
And former Vice President Joe Biden wrote: @DrBiden and I are sending our best wishes to @BernieSanders, Jane, and the whole Sanders family. Anyone who knows Bernie understands what a force he is. We are confident that he will have a full and speedy recovery and look forward to seeing him on the trail soon.
Sanders later tweeted that he was feeling good and used the moment to advocate for Medicare for All.
Australian PM Scott Morrison received a full-blown welcome from the US president. Katharine Murphy was on hand for an inside account Support our independent journalism with a one-off or recurring contribution
Scott Morrison has made his first visit to the United States as prime minister. It was a trip that included a close encounter with the unpredictability of the Trump White House, a foreign policy pivot, and a backlash about a lack of climate policy action. Guardian Australias political editor, Katharine Murphy, travelled, with the prime minister. Here is what she witnessed:
Weve been positioned at the White House since 5am, watching the sun creep over the American capital. Security is as laborious as youd expect. Dogs sniff bags, then the secret service guys have a good look, passports are collected, checked and returned, White House passes and pins are distributed, and then at last we clear the metal detectors. Eventually we make it to the press briefing room, the small blue one, famous through several presidential administrations but now abandoned by Donald Trump. The modest proportions dont fit his presidency. Now its just a transit zone.
We are greeted by a blond woman in a broad-brimmed hat. June, a self-described southern belle, is receiving visitors in the briefing room, although its not clear why. She identifies herself as a fellow scribe working for Christian radio and television in Nashville. When shes not reporting on the Trump White House, shes rallying Christians for the president. This seems something of a line cross for a reporter with White House press accreditation but weve been on the premises for about 10 minutes and its clear that were not in Kansas any more.