GOV WIKE BŁÃST NİGERİANS ON AIT TV FOR ASKING FOR HIS H£ĄD .

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#Wike #Riverstate #Middlebelt #SouthSouth #Almajiri #SouthEast #Nnamdikanu #FG #Almajiri #Arewa #yerimshettima #COVID-19 #Nigeria  #nnamdikanu#IPOB #OYC #Yoruba #PDP #APC #YemiOsinbajo #US #UN #SOUTHWEST #Australia #Europe #Asia #PDP #APC #NnamdikanuBroadcast #RadioBiafra #Nnamdikanu  #Kano #SouthEast #politics #UN #EU #Europe #Asia

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Waste managers of Nigeria honours Tinubu, TVC News, others

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Waste Managers of Nigeria has honoured the National leader of APC, Asiwaju Bola Ahmed Tinubu as the Generalissimo of Environment. The managers also honoured TVC News for its Eco-friendly news stories.

#BolaTinubu #WasteManagers #LAWMA #TVCNews

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Waste managers Association of Nigeria honours Tinubu, TVC

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Waste Managers Association of Nigeria has honoured the National Leader of the All Progressives Congress, Asiwaju Bola Ahmed Tinubu and TVC News for their contributions towards cleaner environment.

#Tinubu #LAWMA #TVCNews #WasteManagers #PSP

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Tony Allen: the Afrobeat pioneer’s 10 finest recordings | Music | The Guardian

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Listen to a playlist of Ammar’s selections:

Fela Kuti: Roforofo Fight (Roforofo Fight, 1972)




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Roforofo Fight is the earliest cohesive expression of Tony Allen and saxophonist Fela Kuti’s Afrobeat sound: part Yoruba polyrhythm, part Nigerian highlife melody, part calypso swing, and all shuffling swagger. Allen and Kuti had been playing together for the best part of eight years at this point, mixing highlife and jazz, but a 1969 trip to the US proved pivotal, exposing Kuti to the radicalism of the Black Panther movement and leading to the formulation of his militant aesthetic Africa ‘70 band. On the title track of Kuti’s second album to be recorded after the trip, Allen takes centre stage with his undulating groove, slapping the snare on the jaunty offbeats to counter Kuti’s forceful diction. An enticing taste of things to come.

Fela Kuti: Water No Get Enemy (Expensive Shit, 1975)




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Afrobeat rhythms seem deceptively simple: a steadily paced, off-kilter shuffle that holds the beat without succumbing to the western convention of landing the snare on the third beat of the bar. Try to play an Allen line, though, and you soon realise how much ghosting and embellishment is going on below the surface – doubles splayed on the first note of a phrase, kick drums scattered throughout. And yet, the groove remains even when it feels like it might fall apart. Water No Get Enemy is the perfect example: a hip-swaying mid-tempo horn line sits atop Allen’s liquid shuffle while Kuti uses the amorphous imagery of water to outline methods of resistance to Nigeria’s reactionary government.

Fela Kuti: Zombie (Zombie, 1976)




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By the mid 70s, Kuti’s politics of resistance was reaching its peak. Zombie was its most forceful expression, Kuti’s lyrics characterising the violent Nigerian army as mindless zombies. You can feel the force of his frustration through his blistering saxophone as it meanders over the highlife guitar line, while Allen’s snappy, shaker-heavy rhythm is the ever-reliable foundation for Kuti’s social message. The song’s success in Nigeria was not without consequences, leading to a severe beating for Kuti, the torching of his studio and his elderly mother being thrown from a window and killed.

Tony Allen: Nepa (Never Expect Power Always, 1984)

Kuti had a domineering relationship to his bandmates, demanding all recording royalties for himself despite Allen’s role as musical director. As the 70s wore on and the group’s popularity increased, so did the dissent in its ranks. By 1979, Allen had recorded three albums as bandleader and so decided to leave the ‘Africa 70, taking many of its members with him. The greatest recording of his new era is 1984’s Nepa – an attack on the notoriously unreliable Nigerian Electrical Power Authority. Here Allen continues Kuti’s lineage of playful socio-political criticism, this time updating the Afrobeat sound to include dub-inflected electronics and fusion funk. It would become representative of Allen’s all-encompassing musical appetite in the years to come.

The Good, the Bad & the Queen: The Good, the Bad & the Queen (The Good, the Bad & the Queen, 2007)

As the 90s continued and Allen was establishing himself as an architect of Afrobeat in his own right, especially in the wake of Kuti’s 1997 death, his own genre-eating journey was evolving further into electronics and collaboration. A longtime fan of the genre, Damon Albarn enlisted Allen for his supergroup, The Good, the Bad & the Queen, featuring the Clash’s Paul Simonon on bass and the Verve’s Simon Tong on guitar. The sprawling title track is the closest we see Allen to cutting loose behind the kit and producing an unabashed rock sound behind Tong’s voluminous closing solo – a testament to his energetic versatility.

Moritz von Oswald: Sounding Line 1 (Sounding Lines, 2015)




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Perhaps the strangest and least well-known of Allen’s collaborations is that with the techno producer Moritz von Oswald, who replaced his longtime drummer Vladislav Delay with Allen for his 2015 album Sounding Lines. Allen produces a truly remarkable sound: a warped and manipulated series of electronics. The opening track sees Allen superimpose an Afrobeat shuffle on to a wobbly dub that builds over 10 minutes to create a simmering, electro dancefloor odyssey.

Tony Allen: A Night in Tunisia (A Tribute to Art Blakey and the Messengers, 2017)




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Allen’s first love was always jazz and he referenced throughout his life the work of rhythmic mastermind Max Roach and explosive powerhouse Art Blakey as major influences. This 2017 Blue Note recording was a welcome opportunity for Allen to finally delve into those roots and lay down his own interpretations. Across its four tracks Allen tackles some of Blakey’s best-loved tunes, like a straight-eighths Moanin’, but his Afrobeat-inflected Night in Tunisia is a work of genius, transforming the horn line into a punchy, driving vamp.

Tony Allen: Wolf Eats Wolf (The Source, 2017)




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Continuing his jazz explorations, Allen delivered his first album of original compositions as a bandleader for legendary jazz label Blue Note. The culmination of his decades of musical exploration, it interweaves metallic electronics with warm percussion, bright horn lines and that ever-present drum language. On Wolf Eats Wolf, Allen is comfortably experimental, putting a Synclavier to work over a highlife guitar line and Kuti-referencing horns to create an eminently danceable new jazz standard.

Tony Allen and Jeff Mills: Locked and Loaded (Tomorrow Comes the Harvest, 2018)




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Never one to be pigeonholed, on 2018’s Tomorrow Comes the Harvest Allen paired up with techno wizard Jeff Mills to further the electronic experiments he had begun with Von Oswald. Largely formulated for modular live performances, the record has a wonderfully loose, improvisatory feel. It hits its stride on the propulsive Locked and Loaded as Allen’s shuffle dissipates into white noise beneath Mills’s distorting sub bass. Even in the grid-work of Mills’ techno, Allen manages to swing.

Tony Allen and Hugh Masekela: Never (Lagos Never Gonna Be The Same) (Rejoice, 2020)




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In 2010, Allen paired up with trumpeter Hugh Masekela, a longtime collaborator and giant of South African jazz. Rejoice was released a decade later, following Masekela’s death in 2018, and now stands as Allen’s last released recording. As its title indicates, the album is a sun-dappled, joyous listening experience celebrating both artists’ effortless ability to make us shake a leg. Never (Lagos Never Gonna Be The Same) plays as an homage to Kuti and it serves as a perfect reminder that although our musical greats ultimately pass on, their legacy lies in each note, ready and willing to be dusted off, played and reinterpreted all over again.

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Juliet Mafua with Seye Ogunlewe, Nigeria’s fastest male sprinter

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Naira Marley soaring amidst controversies

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Naira Marley
Naira Marley

…Why he’s dominating Nigeria’s music scene

By BENJAMIN NJOKU

The Nigerian music scene in recent times has been saturated with lots of talented music stars, who are redefining the space and creating their own buzz. One of such wave-making stars is Azeez Adeshina Fashola, popularly known as Naira Marley.

Marley burst onto the country’s music space like ‘a colossus’ and suddenly stole the hearts and minds of many lovers of music in this part of the world. It still seems like the pop sensation dropped out of nowhere unto our collective music ears.

Before last year, not much was heard of the Agege-born rapper. Even after the release of his 2017 hit “Issa Goal”, which featured Olamide and Lil Kesh, Naira Marley was still not a name to be reckoned with in the Nigerian music scene. But it was after releasing his hit song, “Am I a Yahoo Boy” featuring popular musician Zlatan Ibile, where he alleged to have declared public support for internet fraud. Naira Marley became the name on everyone’s lips.

The Economic and Financial Crimes Commission,EFCC had arrested him alongside Zlatan and three other persons. They slammed an 11- count charge bordering on credit card fraud, car theft and Cybercrime against Naira Marley. Thus started a legal battle that culminated in his detention for 35 days. Many believe the EFCC arrested him because of his alleged support for internet fraud and his claim that cybercrime is a form of reparation of the wealth stolen from Africa. That was the beginning of his journey to stardom.

While the trial lasted, the controversial singer was busy creating buzz on social media. His fans were not deterred from protesting against his arrest outside the EFCC headquarters in Lagos.

READ ALSO: Davido is the king of African music – Miraboi

Marley was quoted to have said in an interview that their rage was understandable. “Because they know the system. They knew what [the EFCC was] trying to do and they followed what happened. They knew I shouldn’t be getting arrested for what I’m saying. Freedom of speech! I should be allowed to be saying what I’m saying. But the EFCC said I was supporting fraud, because I said I have no problem with these people.”

Today, Marley remains one of the hottest artistes that have dominated the mainstream music chart in Nigeria and diaspora. His fan base has continued to increase on daily basis, just as he’s not free from troubles. Recall that in November, Marley set social media agog when he tweeted that a lady with a big butt was better than one with a Master’s degree. Few days later, the lewd singer alongside his siblings and cousins landed into another trouble after they were accused of stealing a car. But unfortunately, the court early this year dismissed the theft case and the singer walked away a free man.

Marley is a phenomenal singer who has a lot going for him. His journey from prince of Peckham to cult figure in Lagos, represents his evolution into a bonafide intercontinental rock star: selling out shows across Africa, and trailed intently both online and off by his mass of obsessive followers, called the ‘Marlians’.

Named after the Nigerian currency and known for his anti-establishment spirit and viral dance crazes, Marley’s wave connects the West African diaspora to their roots as he delivers his lines in a syrupy mixture of Yoruba and English.

Like Eedris Abdulkareem, Terry G and Bobrisky before him, Marley has been able to traverse between public hatred and adoration. On social media, he’s the most talked about Nigerian singer at the moment. While he’s yet to break into the international scene, Marley is currently enjoying the buzz he’s creating with his music back home. He’s in a lane of his own that politely ignores the commercialism of Afro-pop. To many, Marley is using his music to promote immorality and a generation of valueless youths, while to others, his music is awesome.

RnB singer, Asa described Marley’s music as “awesome.” Just as some twitter users once called out the ‘Puta’ hit maker after he declared that his songs can cure depression. They complained that his songs are noisy and senseless and “the only thing his songs can do is that it can cause depression rather than cure it.”

Since he burst onto the UK music scene in 2014, with Marry Juana, a song he wrote with his friend Ma Twigz, the Agege-born, Marley has been banging out hit after hit. In November 2019, the controversial singer sold out the almost 5000 capacity 02 Arena for Marlian Fest in three minutes. Tickets for the Marlian Fest which held on 30 December 2019 at the Eko Convention Centre, Eko Hotels, Lagos also sold out. There was chaos at the venue as fans tried to gain entrance into the concert.

But believe it or not, Marley is a singer you will hate to love. At present, the rapper is not just the rave of the moment, he is arguably the most popular artiste in Nigeria today. But the negative influence of Marley’s songs on the youths is unimaginable. This Marlian fever, like the era of Makossa has taken over the streets of Lagos and everywhere you go, men, women, the young and the old, the affluent and the poor are quick to claim they are Marlians with glee; and the buzz word “I am a Marlian” hits you like an unforgettable dream.

The lewd singer currently has a huge fan base. They call themselves Marlians. His songs and dance steps are inspiring a new generation of morally debased youths, who follow him around. It seems the youth would be his followers for a long time, except something serious is done. They revel in being “outsiders’, and as a trademark, they are disrespectful of rules and agents of law enforcement.

From the dance step, ‘Soapy,’ that has popularised the habit of masturbation to his off and on life inside prison to his recent dance step called ‘Tesumole,’ Naira Marley has continuously been a source of controversy and confusion in the Nigerian music scene.

It’s not for nothing that a clergyman, Chris Omashola, early this year took to his Twitter page, where he shared a series of prophecies concerning Nigeria. He warned that Marley is a demon and his music is inspired by demons, to destroy the youths in Nigeria.

“In 2020, God told me, Naira Marley is A Demon, He is Satanic and should repent before it’s too late. His songs are demonically inspired to destroy the Destiny of The Youths of this generation, Nigerian youths should desist from calling themselves Marlians. #ACOProphecies2020,” he tweeted.

Marley’s fans have since dismissed the clergyman’s warning, as they sent him threat messages; while he himself reacted by sharing screenshots of the pastor’s leaked sex tapes with an interesting caption. “To all Naira Marley’s fans aka Marlian. Please what’s your final judgment on this #NairaMarley and Apostle Chris Omashola case.” . Then on another occasion he tweeted: “Jesus never went to church.”

That’s not all, a certain mother reportedly cried out on social media after her teenage daughter was suspended from school for being part of a Marlian cult. According to the woman, the school caught over 25 girls who were members of the cult, including her daughter.

The teacher had found underwear in one of the girls’ bags and when she was questioned, she revealed that she was part of a cult whose members do not wear underwear to school on certain days.

It was, however, ascertained that the girls don’t wear pants, while the Marlian boys don’t wear belts.

However, it’s said that being a marlian has its ups and downs, from the rumoured beltless trousers for boys and underwear free girls who all believe in the marlian philosophy. You suddenly behold a boy next door who identifies himself as a Marlian, and ready to dance his Marley’s latest dance steps , ‘ Shaku shaku and Soapy (a demonstration of someone pleasuring him or herself through dance) and you are taken aback.

Despite the legal battle and the backlash against him, Marley’s fan base continues to rise., just as the singer is not relenting on his resolve to rule his world. On December 30, 2019, Marlians thronged the Eko hotel venue of the maiden edition of his headlining show, ‘Marlian Fest’ to keep a date with their music idol. While performing at the show, the singer announced his new record label, Marlian Records and resident presented the four artistes who are signed to his music imprint. He equally won his first major award at the 2020 Soundcity MVP Awards, held at the Eko Convention Center, Lagos Nigeria.

The Marlian President beat Tiwa Savage (49-99), Chinko Ekun (Able God), Prince Kaybee (Banomoya), Shatta Wale (My Level), Burna Boy (On The Low), Rayvanny (Tetema), Zlatan (Zanku – Legwork) to clinch the award for Viewers’ Choice for his viral song Soapy. And it was a major boost to his music career. But one wonders how far Naira Marley can go in this journey?

The post Naira Marley soaring amidst controversies appeared first on Vanguard News.

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Death Threats On Our Director Satanic, Can Plunge Nigeria Into Religious War, MURIC Warns

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*insists Muslims in South West sidelined on Amotekun

By AUSTIN OWOICHO, Abuja

South West States Muslim Rights Concern (MURIC) chairmen have called for the immediate arrest of some persons for allegedly issuing out death threats to it’s Director, Professor Ishaq Akintola, saying it Satanic and could engulf Nigeria in a religious crisis.

They expressed this in a statement jointly signed by the six chairmen Ekiti (Murician Qasim Salahudeen), Ogun (Murician Tajudeen Jimoh), Oyo (Murician Salahudeen Abdul Wasiu), Osun (Murician Marufdeen Odedeji), Ondo (Murician Abdul Ganiyu Maroof) and Lagos (Murician Shefiu Ayorinde) and made available to AUTHENTIC News Daily on Tuesday January 28, 2020.

“A twitter handler directed a death threat to the director and founder of our Islamic human rights organization, Professor Ishaq Akintola, about a week ago. 

“He wrote a chilling comment on Professor Akintola’s picture and posted it. 

“The post was, in turn, screenshot from the Whatshap status of a contact who identified herself as Tosin Elizabeth a.k.a ‘Hidee’ with telephone number 08163964812.

“The death threat was issued under the caption, ‘THIS COBRA NEEDS TO BE KILLED’ and the exact words used were:

“There is one big COBRA we must kill, before it kills all of us with its venom. This MURIC man, Professor Ishaq Akintola, must be tamed, else he will succeed in destroying Yorubaland with venom from his religious stupidity. He sees, he talks and behaves like a big radical Taliban. He’s an agent of disunity, and must be called to order before it is too late.”

“We, the chairmen of the Muslim Rights Concern (MURIC) branches from the South West, specifically from Ekiti (Murician Qasim Salahudeen), Ogun (Murician Tajudeen Jimoh), Oyo (Murician Salahudeen Abdul Wasiu), Osun (Murician Marufdeen Odedeji), Ondo (Murician Abdul Ganiyu Maroof) and Lagos (Murician Shefiu Ayorinde) hereby totally and categorically condemn the death threat issued against Professor Ishaq Akintola, the director of our organization,” it said.

They said that the death threat is Satanic and provocative. 

“It is capable of causing religious crisis not only in the South West but in Nigeria as a whole. Apart from revealing a desire to assassinate our director, it is also an incitement of the Yoruba people against the founder and director of our organisation. We insist that no harm must come to Professor Ishaq Lakin Akintola.

“It is clear from the words used in the death threat that the brain behind the satanic message is a Yoruba person who feels aggrieved by MURIC’s stand on the Amotekun security outfit which the governors of the South West have proposed. 

“For the avoidance of doubt, MURIC did not oppose the establishment of a security unit in Yorubaland so long as it is for better security. MURIC only opposed the way Muslims in the region have been sidelined in the arrangement. We reject the idea of collecting birth certificate from churches or letters of recommendation from pastors.

“Is that why our leader must be killed? Is that why Akintola became your first target? Is there no freedom of speech in this country? Are we not in a democracy? Is this how you want to treat Muslims after establishing Amotekun? We are certain that your intention is to turn Amotekun to a terror machine. You want to train assassins for eliminating Muslim leaders one by one.

“Yoruba Muslims have the right to speak freely. We are in the land of our ancestors. We are not foreigners. Nobody can expel us from the land of Oduduwa. We will continue to exercise our fundamental human rights without fear while we remain peaceful and law abiding. We are willing to live peacefully with our neighbours whether they are Christians, traditionalists or atheists. 

“The Nigerian Constitution accommodates all faiths. We are even ready to join the new security outfits in our different states once the religious bias is removed and the legal technicalities are resolved. But no true Muslim will give his or her blessing to a security organization which begins by showing anti-Muslim bias and targeting our Muslim brothers in the North.

“For the sake of clarity, we affirm that MURIC is a peace-loving organization and our motto is ‘Dialogue, Not Violence’. Incidentally, our leader, Professor Akintola, is also a peace-loving man.

“He has never engaged in violence or supported any violent group. He has always condemned Boko Haram and promoted peaceful coexistence among the adherents of different faiths. Akintola is also an anti-corruption jihadist.

“The implications of attacking the director of MURIC will have far-reaching effect because MURIC is not about one man. Its membership spreads beyond the South West to the North. Those who have been used to persecuting the Muslims while the same oppressors shout to high heaven without anybody challenging them now see him as a threat because he has challenged the status quo and changed the narrative.

“Already, there is tension among the Muslims over the threat to Akintola and the Nigerian Council for Shariah (South West zone) issued a statement on the threat on Sunday, 27th January, 2020. Therefore, anybody planning to attack such a man is planning to plunge Nigeria into another crisis.

“We wish to warn those behind the death threat against Akintola to know what they are up against. Think well before you act. Akintola is the voice of the voiceless Muslims in Nigeria and he is recognized as such throughout the length and breadth of the country. You cannot attack such a person and get away with it so easily. Don’t cause trouble in Nigeria.

“This January 2020 alone, Akintola emerged as Number 4 Most Important Muslim in Nigeria for year 2019. This was the outcome of a public ranking conducted by a Nigerian newspaper. Also in 2019, our director and founder was turbaned the ‘Lion of Islam’ (Kinniun Adinni) by the League of Imams, Ikotun, Lagos State. We all know what it means for hundreds of Imams to unanimously agree to give such a title to an Islamic scholar. We do not need to remind those threatening to kill our director that the lion is the king of all animals, including the leopard (amotekun). What do you think will happen if the leopard attempts to launch an attack on the lion?

“In conclusion, we hereby call upon the Inspector General of Police and the Director General of the Department of State Security (DSS) to unmask, apprehend and prosecute those who threatened Professor Ishaq Akintola and to provide adequate protection for him. Professor Akintola is a tax payer and deserves to be well protected. 

“We believe that the security agencies will understand the enormity of the issue and realise that it is a matter of national interest. We affirm that Allah is the best protector and the Most Merciful (Glorious Qur’an 12:64). We also restate our full confidence in the ability of the Nigerian security agencies to get to the bottom of the matter, particularly with the lead provided above as the person on whose status the threat was screenshot (Tosin Elizabeth a.k.a ‘Hidee’, telephone number 08163964812).”

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Nollywood: Board Urges Filmmakers To Produce Movies For Children ⋆

The National Film and Video Censors Board (NFVCB) has urged Nollywood filmmakers to produce more movies under the ‘general viewing’ (G) classification for the viewing interests of children.

SEE ALSO: NIMC Takes NIN Enrollment to 195 Post-Basic Schools in Jigawa

Mrs. Olayemi Alonge-Oyadiran, the board’s Director of Film Censorship and Classification, made the call in an interview with the News Agency of Nigeria (NAN) on Tuesday in Abuja.

Alonge-Oyadiran noted that the trend of film submission for censorship during the past year showed that filmmakers have little or no interest in producing children-friendly movies.

She advised that since children were always attracted to entertainment, especially movies, there was a need to produce more films suitable for their age.

“Filmmakers have continued to shy away from child-friendly movies as contents and themes of movie submitted for censoring in 2019 largely received such ratings as ‘18’ and ‘15’.

“It implies that most of the films they are producing now are meant for adults and they are not children friendly in any way.

“There is an urgent need for sensitization of stakeholders on the importance of making movies that are full of child-friendly contents,” she said.

The director noted that the trend was not good enough for the moral development of children since they were prone to watching films than adults.

According to her, most of the movies submitted for censorship in the past year were centered on themes such as royalty, domestic violence, money rituals, prostitution, and marriages.

She added that “only a few treated themes on advocacy and awareness on diseases such as Sickle Cell, Polio, HIV, and VVF”.

Alonge-Oyadiran, therefore, advised movie producers in the Nigerian movie industry to eschew storylines that erode values that define the African people.

She warned that films that reinforce violence and moral decadence have a demeaning effect on age-long values and acceptable ways of life, which may escalate juvenile delinquency.

While noting that the filmmakers are business persons set out to make a profit, she, however, said there is a need for them to be socially responsible as they shape public opinions.

She, therefore, urged filmmakers to always submit their contents to NFVCB for a rating in order to safeguard the Nigerian child.

“The language used in a film, act of violence and nudity, send messages out to people, especially children, who may apply them wrongly,” said the director.

According to her, 406 films were approved by the board in 2019, covering genres such as Yoruba, Hausa, Igbo, Bini, Urhobo, Hindi and movies in English.

NAN reports that the NFVCB is a Federal Government body that regulates the films and video industry in Nigeria.

The board is empowered by law to classify all films and videos whether imported or produced locally.

It is also the duty of the board to register all films and videos outlet across the country and to keep a register of such registered outlets, among other functions.

Its classification symbols include the “G” rating, which implies ‘suitable for viewing by persons of all ages’, “15” meant only for persons of 15 years and “18” meant for mature audiences.

Others are “12” meant only for persons of 12 years and the “12A” for 12 years and above, “PG” implying Parental Guidance and “RE”, which implies Restricted Exhibition.

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Parents beat, starve 18-year-old daughter to death for dating Yoruba boy | Theinfong

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An 18-year-old girl, Amaka Nweke, has reportedly been beaten to death by her parents for dating a Muslim Yoruba boy and having a baby for him in Lagos.

According to The New Telegraph, she was allegedly beaten to death by her parents, Mr. and Mrs. Mike Nweke, for dating and having a baby for a Muslim Yoruba boy in Agility, Mile 2 in Lagos.

The Lagos State Police Command has said it is waiting for medical report to ascertain the cause of her death, although, angry residents of Agility, Mile 12 claim her parents repeatedly subjected Amaka to torture, including starving her during pregnancy.

Amaka and her boyfriend, Ibrahim Lawal, were said to have met when she was in Senior Secondary School. The relationship later resulted into pregnancy, which her parents kicked against. She later delivered a baby boy, christened Zaeed.

Her friends claim Amaka went through hell while pregnant for defying her parents.

One of the Nwekes’ neighbours, Adebola, said;

“Amaka went through a lot. She really suffered. When they were dating, her parents were always threatening her.

They told her that they didn’t want her to continue associating with the boy. They used to beat her with different objects even while she was pregnant. Whenever her boyfriend brought food to her, they would not allow her to have access to it.”

When Amaka was delivered of her baby, her parents couldn’t afford the medical bill. They had to call on Ibrahim’s family and they gladly paid up.

After she was released from the hospital, her parents tried to prevent the boy’s family from naming their grandchild. But it took the intervention of the Chairman of the Community Development Association (CDA) and some elders in the area before the Nwekes released the baby to them.

Ibrahim’s mother, Ebunola, said that she reported the repeated beatings to the police. She said:

“When my son impregnated Amaka, I didn’t reject the pregnancy.

I was already used to seeing them together. On January 1, 2020, she called Ibrahim that her mother had started beating her again for collecting clothes and money from us. .

It was during the beating that she became unconscious and later confirmed death at the #Gbagada General Hospital.”

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Parents beat 18-year-old daughter to death for dating Yoruba boy (Photo)

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Parents beat their 18-year-old daughter to death for dating a Muslim Yoruba boy and having a baby for him in Lagos.

The Police are currently investigating the death of an 18-year-old girl, Amaka, who was allegedly beaten to death by her parents, Mr. and Mrs. Mike Nweke, for dating and having a baby for a Muslim Yoruba boy in Agility, Mile 2 in Lagos, New Telegrph reports.

The Lagos State Police Command has said it is waiting for medical report to ascertain the cause of her death, although, angry residents of Agility, Mile 12 claim her parents repeatedly subjected Amaka to torture, including starving her during pregnancy.

Amaka and her boyfriend, Ibrahim Lawal, were said to have met when she was in Senior Secondary School. The relationship later resulted into pregnancy, which her parents kicked against. She later delivered a baby boy, christened Zaeed.

Her friends claim Amaka went through hell while pregnant for defying her parents.

One of the Nwekes’ neighbours, Adebola, said;

“Amaka went through a lot. She really suffered. When they were dating, her parents were always threatening her.

They told her that they didn’t want her to continue associating with the boy. They used to beat her with different objects even while she was pregnant. Whenever her boyfriend brought food to her, they would not allow her to have access to it.”

When Amaka was delivered of her baby, her parents couldn’t afford the medical bill. They had to call on Ibrahim’s family and they gladly paid up.

After she was released from the hospital, her parents tried to prevent the boy’s family from naming their grandchild. But it took the intervention of the Chairman of the Community Development Association (CDA) and some elders in the area before the Nwekes released the baby to them.

Ibrahim’s mother, Ebunola, said that she reported the repeated beatings to the police. She said:

“When my son impregnated Amaka, I didn’t reject the pregnancy.

I was already used to seeing them together. On January 1, 2020, she called Ibrahim that her mother had started beating her again for collecting clothes and money from us. .

It was during the beating that she became unconscious and later confirmed death at the #Gbagada General Hospital.”

Follow us on Facebook – @Lailasnews; Twitter – @LailaIjeoma for updates

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