This new song by “World Is On Fire” by Niyola is so powerful. It describes what almost every Nigerian feels at the moment.
Our hopes are that we are not consumed by this fire…that our voices are heard…that our march ends police brutality and our agitation ends the extra-judicial
Popular Kumawood Actress; Ama Oduma Odum has made an interesting revelation about why and how she failed her Wes Africa Senior Secondary Certificate Examination (WASSCE).
Ama told Zion Felix on the ‘Uncut’ Show that her father compelled her to study science at Senior High School against her will and passion, all because he wanted her to be a nurse or a doctor at all costs.
Although she completed Juaben Senior High School in 1997 as a science student, Ama said she learned the course under duress, disclosing she had yearned to study General Arts since she had a passion for poems and drama.
In a bid to ensure she did not pass the science course which was imposed on her, the actress revealed that she abandoned classes to have fun at some drinking joints while her colleagues were studying.
She expected to have her father change his mind and allow her to choose General Arts when rewriting the examination but all to no avail.
Ama further revealed how chasing her dreams and following her passion was such a dealbreaker for her that she had to leave her adamant father’s house at a point in time to enable her to have the freedom to do what she desired.
Watch Ama Oduma Odum in the video below as she makes all the disclosures:
A weird drama ensued at what was supposed to be a secret wedding between a married man and his probably ignorant bride as the former’s wife stormed the venue with her children and disrupted the ceremony.
According to the woman, the supposed groom was her husband with whom she had children. She went on to allege that the man even spent the last night with her and the children, so she was surprised to see him tying the knot with another woman the next morning.
She added that she and her husband didn’t have any issues and they had not separated either, so she was taken aback to have learned and confirmed it for herself that he was getting married to another woman.
Source: Pulse ng
Mursi is a unique Surma tribe in Southern Sudan and the language they speak is also called Mursi.
When a Mursi girl becomes a teenager, she begins the process of lip stretching. The girl has her bottom teeth removed to make space for a lip plate, which is increased in size annually.
The plates are inserted into the lip causing it to stretch, and it is said that the larger the clay plate, the more the woman is worth before she gets married.
Mursi women only wear the plates for a short time because they are so heavy and uncomfortable.
The practice was first carried out to allegedly make them look ugly when Arab merchants continually raided their villages in search of slaves.
However, that explanation has been rejected as studies reveal that the plates are a symbol or expression of social status among the Mursi people.
The supposed historical link between lip-plates and the activities of slave traders is an idea that goes back to colonial times.
In an article in the September 1938 issue of National Geographic Magazine, C. and M. Thaw report meeting women with large plates in both their upper and lower lips near Fort Archambault, on the River Chari, about 400 miles southeast of Lake Chad, in what was then French Equatorial Africa:
“Here both the upper and lower lips of girl babies are pierced and small wooden plugs inserted into the holes. As they grow up, these holes are gradually increased in size until they reach the dimensions of large soup plates… This form of disfigurement was begun centuries ago to discourage slave raiders, the French Administrator told us. Why it didn’t discourage the young men of the tribe, as well, we will never know. (Thaw & Thaw 1938: 357)”
The use of lip-plates is neither peculiar to Africa nor to women. Amongst the Kayapo of Brazil, for example, senior men wear ‘a saucer-like disc some six centimetres across’ in the lower lip, according to Turner, 1980: 115.
“The lip-plug, which reaches such a large size among older men, is incontestably the most striking piece of Kayapo finery. Only males have their lips pierced.
“This happens soon after birth, but at first only a string of beads with a bit of shell is placed in their backwardness by outsiders and that it will help to prolong their exclusion from the economic and social benefit of incorporation into the Ethiopian state. In particular, it will be an obstacle to the education of girls. Here I should mention the recent activities of Protestant missionaries who, since 1989, have established themselves in the Mago Valley, where a group of Mursi had migrated a few years earlier because of drought.
“The missionaries have not, as far as I know, spoken out specifically against the lip-plate. But their converts, who are at present concentrated around
the mission station and may number in the region of 50 individuals, are likely to be at the forefront of efforts, coming from within the community itself, to abandon such ‘traditional’ practices and customs.”
The Mursi (or Mun as they refer to themselves) people are the most popular in Ethiopia’s Omo Valley. They are well known for their unique lip plates. Mursi are a Nilotic pastoralist ethnic group that inhabits southwestern Ethiopia.
They principally reside in the Debub Omo Zone of the Southern Nations, Nationalities, and People’s Region, close to the border with South Sudan.
According to the 2007 national census, there are 7,500 Mursi, 448 of whom live in urban areas; of the total number, 92.25% live in the Southern Nations, Nationalities, and People’s Region (SNNPR).
While the protests were ongoing, certain photographers caught some iconic moments which have since been popularized on social media.
While the protests were ongoing, certain photographers caught some iconic moments which have since been popularized on social media. For what they mean and in those moments, they exemplify the Nigerian need for freedom and our unified voices in the struggle to win.
Here are our favourite seven shots;
6.) Mr. Macaroni sleeping on the floor
Debo always loved a good protest and here, he is one of the few to propel these protests to this level.
While this would have made sense as a victory parade, we will still take it. While checking the picture, play ‘F*ck the Police‘ by NWA.
According to Ogbeni Dipo, before Wizkid got to the Nigerian High Commission in London on October 11, 2020, it was a total chaos. His presence calmed things and his shots were taken.
This represents loving Nigeria while striving for something greater, while also trampling on the police. On the stick he holds, the Nigerian flag is below a white #EndSARS flag. His fashion also embodies the struggle.
It is poetry in motion. Long live the Lekki toll gate blockage.
In Abuja, peaceful protesters had hot water sprayed on them. But in those moments, two beautiful women who were also protesting produced an iconic moment.
While running from the scene of the assault, someone captured the hot water they were trying to avoid. One of those girls then gave a middle finger to the police van while backing it. That is an amazing evidence of the struggle.
Kiki Mordi exemplifies the fight for justice. The Emmy-nominated journalist pulled up to the Ajah, Lagos protests on a Mack truck while leading a call-and-response.
This is the kind of shot you show your kids.
Nigerian thespian Lala Akindoju is the cover star for TW Magazine‘s September 2020 Issue.
On their Instagram they shared:
New Cover Alert!!!🙌🏾
To get you ripe & ready for episode 2 of @thesmartmoneywomantv 💵 (airing Episode 2 on @africamagic showcase Ch. 151 at 9 PM … reruns on Sunday 6pm!) we have a juicy cover for you!
@lalaakindoju is TSMW’s ‘Adesuwa’ as she graces our Special Issue for September 2020!
We dive into her role, wearing the hats of Actress & Producer on the project and being ready for more! We also have some pretty Smart Money Saving Tips from @smartmoneyarese herself and more!!!😍
The full magazine is available at www.twmagazine.net
Credits
Look 1: Floral Dress, Moofa Designs @moofadesigns
Look 2: Floral Suit, Wild Kulture @wildkulture
Look 3: Yellow Gold Playsuit, Moofa Designs @moofadesigns
Look 4: Pink Tulle Dress, 3and4Fashion @3and4fashion via @experiencezazaii
Photography: @emmanueloyeleke
Hair @hairbybeesroots.
Makeup @prospottedmakeover
Hair Styled: @vaavavoom .
The President of the United States of America, Donald Trump announced that he and his wife, Melania both tested positive for the coronavirus.
This is coming months into a global pandemic and in the final stretch of his re-election campaign.
At 74 years old, Trump falls into the highest risk category for serious complications from the disease, which has killed more than 200,000 Americans and more than 1 million people worldwide. His infection with the disease could prove to destabilize in an already fraught political climate, and stock market futures tumbled on news of Trump’s infection.
“Tonight, @FLOTUS and I tested positive for COVID-19. We will begin our quarantine and recovery process immediately. We will get through this TOGETHER!” Trump tweeted shortly before 1 a.m. Friday. Later, the first lady wrote on Twitter that she and her husband were “feeling good.”
In a memo seen by CNN, the President’s physician, Sean Conley wrote that he received confirmation of the positive tests on Thursday evening.
The President and First Lady are both well at this time, and they plan to remain at home within the White House during their convalescence. The White House medical team and I will maintain a vigilant watch, and I appreciate the support provided by some of our country’s greatest medical professionals and institutions.
Rest assured I expect the President to continue carrying out his duties without disruption while recovering, and I will keep you updated on any further developments.
The President had said late Thursday night that he planned to quarantine after one of his closest aides, Hope Hicks, tested positive for the infection, bringing the disease into his innermost circle.
Expand Press has announced the publication of Onyeka Onwenu‘s memoir, My Father’s Daughter. The autobiography, set to be released on October 1, 2020, is a deeply personal account of the life of the iconic musician.
My Father’s Daughter chronicles Onwenu’s life as a musician, activist, wife, mother, and politician. In the autobiography, Onwenu’s formative contact with feminism and how her father’s life heavily influenced her decision to join politics is deftly explored.
Onwenu’s political philosophy cannot be divorced from the exemplary foundation laid by her father, Dixon Kanu (DK) Onwenu, who cared deeply about the development of Nigeria when politics was not a means to amass wealth. Through Onwenu’s lens, the communal lifestyle of the Igbos, as well as how family core values are intricately woven into personal ethics, are fully displayed.
Onwenu’s patriotism and love for Nigeria is quite palpable throughout the book. Little wonder that My Father’s Daughter will be officially released to coincide with the 60th year Independence Day celebration of the country.
She also reminisces on how the Nigerian Civil War of 1967 – 1970 scalded her teenage experience. The debilitating effects of the Biafran war, and how the family remained bound amidst the chaos are themes that Onwenu serves up in her book. The fragmentation, alienation, and displacement that permeated the Igbo community after the war were also delved into by Onwenu. From her experience of the war as a young woman, the paranoia deeply planted by the effects of the conflict is captured.
The one-time Television journalist documents her years in America, the culture clash, and the inevitable conflicts that are the products of being a migrant. She shares her experience of being sexually harassed in a workplace and how her decision to leave got her a job at the UN. There she crossed paths with a diplomat who encouraged her to drive social change in Nigeria.
The memoir covers her media experience. She talks about going back to post-war Nigeria, being confronted by the failing political system, and her tilt towards politics to fulfill her father’s legacy. She equally documents the challenges she faced as a politician. She uncovers the failing state of Nigerian politics, and it is surprising how some of the difficulties faced after independence are still prevalent in the current political clime of the country.
Onwenu also unravels how power corruption is not only restricted to the political system. She traces the foundational challenges faced by the Nigerian political system from the military era down to democracy.
Onwenu also explores her contribution to the budding Nigerian music industry of the 1980s. The reader is regaled with stories, the behind the scene happenings in the Nigerian Entertainment industry. She also exposes the exploitation of musicians by industry leaders and practitioners – an issue that still ravages artistes’ relationships with major industry partners in contemporary Nigeria. Artistes’ rivalry is also discussed by Onwenu and how unhealthy competitions led to numerous cracks. Her transition from a musician to an actor is also chronicled as well.
Onyeka Onwenu discusses her private life. On the marriage front, she explores the challenges women face and how she refused to shrink herself to accommodate anyone’s insecurities about her fame.
My Father’s Daughter is a memoir every young person must-read. Women, especially, will glean numerous lessons from her life experience since successful women in Nigeria rarely share their stories in a candid and vulnerable manner.
Onwenu’s life choices and her ability to transcend society’s playbook of how a woman should live serves as a learning curve for young women who are not afraid to chart their course. From her marital experience and her constant refusal to discuss her personal life, Onwenu shows that a woman’s worth is not predicated on her attachment to a man. Her blunt refusal to be seen as the weaker counterpart is rare in her generation, and in the lines of her book lies vital lessons young people can draw from.
Onwenu’s memoir is available for pre-order on Rovingheights website.
Kimora Lee Simmons and her two daughters, Ming and Aoki, are collaborating with HatchBeauty Brands to create a Baby Phat Beauty makeup line, according to The Daily News.
“I think it’s very important that right now—in this time of Black Lives Matter, that could be Brown lives matter…to be a young woman, certainly for Ming and Aoki, and for myself, to be a woman, a woman of color—to have your own brand,” Simmons tells Women’s Wear Daily.
Simmons surprised the fashion world by relaunching and revamping the streetwear brand and dropped a surprise on BabyPhat.com late last year in December.
At that time she stated, “When I created Baby Phat 20 years ago, it was because women—especially women of color—had no voice at all in the streetwear category,” Simmons tells Yahoo. “It’s in our DNA that this brand is created for women, by women—which was rare then and still is today once you really look closely at who truly owns and controls many womenswear brands on the market.”
The makeup line is launching a three-piece kit featuring a lip gloss, body lotion, and scented, shimmery body spray, which is retailing for $45 each. Three different versions of the products, reflecting the personalities of each woman, are also for sale.
“Divine is mine, obviously,” Simmons said. “Opulence is Ming, and Ethereal is Aoki, because she’s a free spirit. We are excited to dive into the beauty space with a unique multigenerational perspective.”
A portion of proceeds from sales of Baby Phat Beauty will be donated to Fair Fight, an organization working to promote fair elections, educate on election reform, and fight voter suppression.
Vogue.com has a new editor— Chioma Nnadi, replacing Stuart Emmrich, who announced his departure in June.
In her new role, Chioma will oversee all of Vogue’s digital content.
The fashion journalist and editor has made a tremendous impact in the fashion industry especially in recent times where she has been a powerful and notable voice in the fight for inclusivity and diversity within the industry.
She started her career at the features desk of the Evening Standard Magazine in London, before moving to New York to write for Trace, an independent style magazine. She then went on to work as the Style Director at Fader and landed at Vogue as a fashion writer in 2010. Nnadi was named Fashion News Director in 2014 and has stayed in that position up until her newly announced promotion.
She studied English and French Literature at Manchester University.
In a statement, Chioma Nnadi said:
In these unprecedented times, it feels especially urgent and exciting to be telling stories. And now the touchpoints through which we communicate are more expansive than ever. Vogue has first and foremost been a place of discovery and I think in this moment it feels especially important to amplify the new voices in fashion and culture who are changing the zeitgeist.
“I am so thrilled that Chioma will be the new editor of Vogue.com,” said Anna Wintour, the editor-in-chief of Vogue and the artistic director of Condé Nast, said in an official release according to WWD. “Above all, we know her as someone who intuitively understands fashion and brings to it a genuine love of discovery. She looks in unexpected places and all over the world to find out who is doing the best work and who we should be celebrating now. I absolutely rely on her eye and her cosmopolitanism and her taste. Even better, she is forward-looking and understands that Vogue needs to reach new audiences and do so in new ways.”
Photo Credit: nnadibynature
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