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Thursday 25 May 2017
JUST IN: APC chairman speaks on Obanikoro’s planned defection to ruling party
fthe-young-officers-started-nigerian-biafra-war-naive-obasanjo.html
- Chief Olusegun Obasanjo has labelled as naive, late Odumegwu Ojukwu's drive towards
the fBiara war -
Obasanjo made the assertion at the maiden edition of the "Memory and Nation Building, Biafra: 50 Years After" Read more: https://www.naij.com/1106528-the-young-officers-started-nigerian-biafra-war-naive-obasanjo.html
The ex-president says the young officers who started the 1967 war were unguarded Former president Olusegun Obasanjo has said that the officers who started the 1967 Nigerian-Biafra civil war were all naive. Speaking at the maiden edition of the "Memory and Nation Building, Biafra: 50 Years After", the former president said the young officers who started the 1967 war were naive and never had an understanding of what they were going into. Read more: https://www.naij.com/1106528-the-young-officers-started-nigerian-biafra-war-naive-obasanjo.html
"Although there were some nationalism in some of them. And that is whathas kept us where we currently are," Obasanjo said. He further condemned remarks by some of Nigerian leaders who are bent on planting hatred in the hearts of the Nigerian populace. "We really never had a national leader, we had three leaders at the beginning of our journey as a nation who are mindful of their regions. That is our problem. When you listen to our leaders they talk about freedom and their region but never unity," he said. Obasanjo said all the officer who participated in the war never saw themselves as enemies. Read more: https://www.naij.com/1106528-the-young-officers-started-nigerian-biafra-war-naive-obasanjo.html
PAY ATTENTION: Read the news on Nigeria’s #1 news app Read more: https://www.naij.com/1106528-the-young-officers-started-nigerian-biafra-war-naive-obasanjo.html
"We saw our brothers on the other side as rebels, we never called ourselves enemies. Right from the beginning of the war, reconciliation was on the federal's mind," he noted. He said all the standard rule of engagement was observed during the civil war with the aim of reconciling with the aggrieved party. "We had special code of conduct, foreign observers, we had people who had power to report authoritatively and power to even investigate. "I have said it before, civil war is more difficult to fight that fight a foreign nation or exterminate. "We wanted to preserve our nation, reconciliation was on our mind," Obasanjo added.
The Acting President Yemi Osinbajo, former president of Nigeria Olusegun Obasanjo and many others are currently seated at the Shehu Musa Yar'adua Centre in Abuja to discuss the Nigerian-Biafra civil war after 50 years. Also seated for the debate is the president of Ohanaeze Ndigbo John Nnia-Nwodo, Pat Utomi and Dr Oby Ezekwesili. The chairman of the occasion is the former permanent secretary for the ministry of information, education and industry, Mohammed Joda. Speaking at the event, Innocent Chukwuma of Ford Foundation - the co-organizers with Shehu Musa Yar'adua Foundation said the event was the first of its kind. Below is a NAIJ.com video in which Nigerians react to the possibility of a military takeover in Nigeria. Read more: https://www.naij.com/1106528-the-young-officers-started-nigerian-biafra-war-naive-obasanjo.html
The current status of Obagi town/Population 80% on
Where are you are feel free, your community is save, God has make it work.
We have been observing the community for the past two months now, no killing, no stilling, no rapping and even the place is now lively. 24/7 light on, no power failure
The electricity is presently provided by total E&P NIG. ltd. The hospital is about to start working, and there will be a free medical.
Presently the Community secondary school students are enjoying the campus, freedom of movement.
Information l got from one of the student that the teachers are good especially in science, all like before that they were lacking science teachers such as chemistry, physics, English teacher, but now since peace has be restored in the community the students have restored all the lost field.
So you can see how amazingpeace is for good.
DAMN. is a widescreen masterpiece of rap, full of expensive beats, furious rhymes, and peerless storytelling about Kendrick’s destiny in America.
DAMN. is a widescreen masterpiece of rap, full of expensive beats, furious rhymes, and peerless storytelling about Kendrick’s destiny in America.
Life is one funny motherfucker, it’s true. “DUCKWORTH.,” the last song on Kendrick Lamar's fourth studio album DAMN., tells a winding story about Anthony from Compton and Ducky from Chicago, whose paths cross first over KFC biscuits, and again, 20 years later, when Ducky’s son records a song about the encounter for Anthony’s record label. It’s a precious origin story, the stuff of rock docs and hood DVDs, and it’s delivered with such precision, vivid detail, and masterful pacing that it can’t possibly be true. But it’s a tale too strange to be fiction, and too powerful not to believe in—just like its author. Kendrick Lamar has proven he’s a master storyteller, but he’s been saving his best plot twist this whole time, waiting until he was ready, or able, to pull it off.
Storytelling has been Lamar’s greatest skill and most primary mission, to put into (lots of) words what it's like to grow up as he did—to articulate, in human terms, the intimate specifics of daily self-defense from your surroundings. Somehow, he’s gotten better. The raps on his fourth studio album DAMN. jab mercilessly like a sewing machine. His boyish nasal instrument is distinct and inimitable as it slithers up and down in pitch on “PRIDE.” Even when Lamar sounds like Eminem, or Drake, or OutKast, he sounds like himself, and he arguably outpaces them all as a writer. On “FEAR.,” he relays daily threats from his mom (“I’ll beat your ass, keep talking back/I’ll beat your ass, who bought you that? You stole it”) and from his neighbors (“I’ll probably die because I ain’t know Demarcus was snitching/I’ll probably die at these house parties fucking with bitches”) over low-slung blues stirred by The Alchemist. Lamar’s recitation is so effortless you wonder where he breathes, or if he does at all.
Kendrick is a relic of the mid-aughts rap blog era, where bedroom WordPress pages would post .zips of albums by amateurs. After years of such releases, Kendrick dropped a self-titled EP in 2009 that featured Big Pooh from Little Brother and elicited such Nah Right comments as “I like the beats on this” and “who da fuk?” Accolades swelled with each project; by 2011, he was considering signing with Dr. Dre; by 2013, he was playing “SNL” and touring with Kanye West. He came of age with his fans, and by 2015’s To Pimp a Butterfly, he put to music their chest-clenched frustrations. Ever the curtain-puller, he released an album of untitled and unmastered drafts and grew his hair out. His short absence, even after lending Taylor Swift a verse, has been made to feel longer by his media shyness and a surging tide of new rappers shuttled out daily.
Throughout it all, he’s avoided the boxed-in fates of predecessors like Nas and peers like J. Cole through an electric originality and curiosity. He mastered rap not for mastery’s sake, but to use it as a form, undeterred by slow-eared fans who’ll only highlight his “simplest lines.” His best new trick is repetition; it offsets his density and drills his ideas, as enthralling as a Sunday sermon or pre-fight chirp session. There have been few threats committed to record as sincere as, “Let somebody touch my mama, touch my sister, touch my woman/Touch my daddy, touch my niece, touch my nephew, touch my brother”—you tick down the list along with him, slot in your own lifelong bonds with loved ones. Such internal processing plays out through the album’s Greek chorus, via the singer Bēkon, who speaks in riddles of balance throughout: “Is it wickedness, is it weakness;” “Love’s gonna get you killed, but pride’s gonna be the death of you;” “It was always me versus the world/Until I found it’s me versus me.”
DAMN. is best in these philosophical spaces. It lags slightly around the center, where the concept loosens: “LOYALTY.,” with Rihanna, has all the makings of a radio mainstay this summer, and is as low-stakes as the platform demands; it’s always fun to hear Rih rap, and her presence is its most interesting aspect. “LUST.” would sound better if it weren’t next to an ear-worm as tender as “LOVE.,” which slow-dances between Zacari falsettos and Lamar’s sheepish read of the girl who fills him up. Between the two tracks, it’s easy to tell which force is tugging at him harder.
The record’s few lulls succumb to what surrounds them. The springboard bounce of “HUMBLE.,” the war chant of “DNA.,” and hot steel of “XXX.” show Kendrick in his element, fast and lucid, like Eazy-E with college credits and Mike WiLL beats. The production is taut and clean, but schizophrenic, often splicing two or three loops into a track and swaying between tempos, closer in kin to good kid, m.A.A.d city’s siren-synths than Butterfly’s brass solos. If he was “black as the moon” on his last album, he’s an “Israelite” here, refusing to identify himself by the shade of his skin but fluent in the contents of his D.N.A. Butterfly floated along to soften its scathing stance—“We hate po-po” sounds better over a smooth saxophone—but with so many “wack artists” in play, what’s the reward for upliftment? Kendrick is so alone at his altitude that when he acknowledges Fox News, let alone Donald Trump, it feels like a favor to them both.
Still, the album exists for “DUCKWORTH.” It’s the final piece of the TDE puzzle, a homegrown label of Compton natives that happened to deliver the best rapper of his generation. If we’re to believe the song’s last gunshot—and its seamless loop back to track one—much of DAMN. is written from the perspective of a Kendrick Lamar who grew up without a father to guide him away from the sinful temptations outside his home. He bobs in and out of this perspective, but the repeated pledges to loyalty and martyrdom evoke the life and mind of a young gang member who carries his neighborhood flag because no one’s proved to him that he shouldn’t. These choices, Lamar suggests, aren’t pre-determined or innate, but in constant dialogue with and in reaction to their surrounding circumstances. They aren’t above or beneath anyone who can hear his voice. Success and failure choose their subjects at their whim; we’re as grateful as Kendrick for his fate.
Life is one funny motherfucker, it’s true. “DUCKWORTH.,” the last song on Kendrick Lamar's fourth studio album DAMN., tells a winding story about Anthony from Compton and Ducky from Chicago, whose paths cross first over KFC biscuits, and again, 20 years later, when Ducky’s son records a song about the encounter for Anthony’s record label. It’s a precious origin story, the stuff of rock docs and hood DVDs, and it’s delivered with such precision, vivid detail, and masterful pacing that it can’t possibly be true. But it’s a tale too strange to be fiction, and too powerful not to believe in—just like its author. Kendrick Lamar has proven he’s a master storyteller, but he’s been saving his best plot twist this whole time, waiting until he was ready, or able, to pull it off.
Storytelling has been Lamar’s greatest skill and most primary mission, to put into (lots of) words what it's like to grow up as he did—to articulate, in human terms, the intimate specifics of daily self-defense from your surroundings. Somehow, he’s gotten better. The raps on his fourth studio album DAMN. jab mercilessly like a sewing machine. His boyish nasal instrument is distinct and inimitable as it slithers up and down in pitch on “PRIDE.” Even when Lamar sounds like Eminem, or Drake, or OutKast, he sounds like himself, and he arguably outpaces them all as a writer. On “FEAR.,” he relays daily threats from his mom (“I’ll beat your ass, keep talking back/I’ll beat your ass, who bought you that? You stole it”) and from his neighbors (“I’ll probably die because I ain’t know Demarcus was snitching/I’ll probably die at these house parties fucking with bitches”) over low-slung blues stirred by The Alchemist. Lamar’s recitation is so effortless you wonder where he breathes, or if he does at all.
Kendrick is a relic of the mid-aughts rap blog era, where bedroom WordPress pages would post .zips of albums by amateurs. After years of such releases, Kendrick dropped a self-titled EP in 2009 that featured Big Pooh from Little Brother and elicited such Nah Right comments as “I like the beats on this” and “who da fuk?” Accolades swelled with each project; by 2011, he was considering signing with Dr. Dre; by 2013, he was playing “SNL” and touring with Kanye West. He came of age with his fans, and by 2015’s To Pimp a Butterfly, he put to music their chest-clenched frustrations. Ever the curtain-puller, he released an album of untitled and unmastered drafts and grew his hair out. His short absence, even after lending Taylor Swift a verse, has been made to feel longer by his media shyness and a surging tide of new rappers shuttled out daily.
Throughout it all, he’s avoided the boxed-in fates of predecessors like Nas and peers like J. Cole through an electric originality and curiosity. He mastered rap not for mastery’s sake, but to use it as a form, undeterred by slow-eared fans who’ll only highlight his “simplest lines.” His best new trick is repetition; it offsets his density and drills his ideas, as enthralling as a Sunday sermon or pre-fight chirp session. There have been few threats committed to record as sincere as, “Let somebody touch my mama, touch my sister, touch my woman/Touch my daddy, touch my niece, touch my nephew, touch my brother”—you tick down the list along with him, slot in your own lifelong bonds with loved ones. Such internal processing plays out through the album’s Greek chorus, via the singer Bēkon, who speaks in riddles of balance throughout: “Is it wickedness, is it weakness;” “Love’s gonna get you killed, but pride’s gonna be the death of you;” “It was always me versus the world/Until I found it’s me versus me.”
DAMN. is best in these philosophical spaces. It lags slightly around the center, where the concept loosens: “LOYALTY.,” with Rihanna, has all the makings of a radio mainstay this summer, and is as low-stakes as the platform demands; it’s always fun to hear Rih rap, and her presence is its most interesting aspect. “LUST.” would sound better if it weren’t next to an ear-worm as tender as “LOVE.,” which slow-dances between Zacari falsettos and Lamar’s sheepish read of the girl who fills him up. Between the two tracks, it’s easy to tell which force is tugging at him harder.
The record’s few lulls succumb to what surrounds them. The springboard bounce of “HUMBLE.,” the war chant of “DNA.,” and hot steel of “XXX.” show Kendrick in his element, fast and lucid, like Eazy-E with college credits and Mike WiLL beats. The production is taut and clean, but schizophrenic, often splicing two or three loops into a track and swaying between tempos, closer in kin to good kid, m.A.A.d city’s siren-synths than Butterfly’s brass solos. If he was “black as the moon” on his last album, he’s an “Israelite” here, refusing to identify himself by the shade of his skin but fluent in the contents of his D.N.A. Butterfly floated along to soften its scathing stance—“We hate po-po” sounds better over a smooth saxophone—but with so many “wack artists” in play, what’s the reward for upliftment? Kendrick is so alone at his altitude that when he acknowledges Fox News, let alone Donald Trump, it feels like a favor to them both.
Still, the album exists for “DUCKWORTH.” It’s the final piece of the TDE puzzle, a homegrown label of Compton natives that happened to deliver the best rapper of his generation. If we’re to believe the song’s last gunshot—and its seamless loop back to track one—much of DAMN. is written from the perspective of a Kendrick Lamar who grew up without a father to guide him away from the sinful temptations outside his home. He bobs in and out of this perspective, but the repeated pledges to loyalty and martyrdom evoke the life and mind of a young gang member who carries his neighborhood flag because no one’s proved to him that he shouldn’t. These choices, Lamar suggests, aren’t pre-determined or innate, but in constant dialogue with and in reaction to their surrounding circumstances. They aren’t above or beneath anyone who can hear his voice. Success and failure choose their subjects at their whim; we’re as grateful as Kendrick for his fate.
Raining in Obagi town today in Onelga , symbolize positive or negative.
Rain is nourishment for the earth and is known as the water
of life.
I'll list the positives and the negatives and a bit of
elaboration on both.
Positives:
Refreshment
The rain is refreshing after a drought or a period of scorching heat.
Life
Water is life. Rain brings an abundance of it bringing the dead and dry lands back to life. This is great in a story based around agriculture.
Anti monotony
Rain isn't exactly regular. It doesn't happen every day so that is another element.
Noah's Flood
There was vast rainfall in the biblical Noah's Flood so that can make a good paragraph on a story.
Negatives:
Restriction/Imprisonment
If you go out in the rain, you get sick. This is common sense. So rain limits you to indoors. Thus, symbolising restriction.
Gloomyness
Rain has a natural gloomy feeling to it. A feeling that dulls emotions.
Cold
It can represent ruthless, inconsiderate, uncaring iciness. So that can be a great comparison to a character in a story, especially if it is raining at that time.
Noise
Rain makes a lot of disturbing noise when it comes crashing down. This now makes things harder.
Refreshment
The rain is refreshing after a drought or a period of scorching heat.
Life
Water is life. Rain brings an abundance of it bringing the dead and dry lands back to life. This is great in a story based around agriculture.
Anti monotony
Rain isn't exactly regular. It doesn't happen every day so that is another element.
Noah's Flood
There was vast rainfall in the biblical Noah's Flood so that can make a good paragraph on a story.
Negatives:
Restriction/Imprisonment
If you go out in the rain, you get sick. This is common sense. So rain limits you to indoors. Thus, symbolising restriction.
Gloomyness
Rain has a natural gloomy feeling to it. A feeling that dulls emotions.
Cold
It can represent ruthless, inconsiderate, uncaring iciness. So that can be a great comparison to a character in a story, especially if it is raining at that time.
Noise
Rain makes a lot of disturbing noise when it comes crashing down. This now makes things harder.
Rain is the lifeblood of
every Living Being and thus, a unique symbol of Intelligent Design of our
Universe or Planet Earth. For example, it has not been found to rain in other
planets; proving that the Earth is not a random happenstance but a
deliberately, specially, and carefully thought out Big Garden for Living
Beings: Of course with Humanity bearing overall responsibility for its
sustainability.
Rain is a cooling, calming, and soothing
system that counteracts the effects of other forces of nature like Sunshine to
maintain an equilibrium or natural balance that sustains our Universe. Too
much, we drown; and too little, we hunger, dry, and fry. Rain is a symbol of
time, season, and a new beginning!!!!
The farmer, especially,
knows that too well. Rain is also a symbolic guide to what then becomes our
conscious, intelligent or rational choice and decision of where we live in the
Desert or the Arctic! He always wins! That is the reason that HE is ‘The
Intelligent Designer’. For example, without choice of abode and the power to
make that choice, what is the point of free-will and fairness in personal
responsibility for consequences of its exercise?!
Rain, like other forces of Nature, is a constant reminder that
we human beings are part of nature and thus can never be master of Nature- and
that is not to discourage us from trying!:
Rain makes no difference or distinction between the Queen or the
pauper. Rain beats them alike and soaking wet. Thus rain ‘the leveller’ offers
a great lesson that Social Justice must inform our public service planning and
delivery! Rainfall being a public service and thus utilitarian! The subtle message there for you is always carry an umbrella or raincoat around because the rain will not make an exception of you!
Rain can also be seen as a cleansing agent that purifies the atmosphere after some disaster.
It has cleaned
all the disaster in the Obagi community. So you can see how amazing rain
is for both the good and the evil.
As many who are witnessing the rain today, will surely grow from death to live!
Good luck in your new environment.
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