Archive for nigeriang

Court voids substitution of candidate in FCT election

Court voids substitution of candidate in FCT election

The tussle over who
is the PDP’s authentic candidate took another dimension recently when
Justice Gabriel Kolawole, of the Federal High Court, Abuja, upheld the
nomination of Peter Yohanna as the chairmanship candidate of the
Peoples Democratic Party (PDP) for Bwari Area Council in the Federal
Capital Territory (FCT).

This judgement
thereby restrains the Independent National Electoral Commission (INEC)
from effecting the substitution of Mr. Yohanna’s name with that of Musa
Dikko’s as the PDP candidate in the election slated for April 10, 2010.

History of the case

In a motion dated
March 16, 2010, Sunday Ameh, counsel to Mr. Yohanna, applied for an
order of prohibition restraining INEC and its resident electoral
commissioner from removing Mr. Yohanna’s name as the PDP’s candidate
for the April 10 elections, as he won the primary elections and his
party submitted his name as its candidate to INEC.

Mr. Ameh also asked
for an order of certiorari quashing the INEC’s list of nominated
candidates, in which Mr. Dikko was reflected as the PDP candidate.

Justice Kolawole
granted the orders, saying that INEC and its resident electoral
commissioner, had not shown cause why the order should not be granted.

Mr. Yohanna told
the court that he contested the PDP primaries for Bwari Area Council
chairman election with Mr. Dikko and other applicants, but won the
primary election by the result declared on November 21, 2009, while Mr.
Dikko came second. His name was subsequently forwarded by the state
chairman of PDP to INEC as the party’s candidate for the election. When
INEC recieved his nomination, the organisation published his personal
particulars at its Bwari office and at its FCT headquarters.

However, Mr.
Yohanna testified that on February 8, 2010, to his shock and surprise,
he learned his name was substituted with Mr. Dikko’s by a letter
written by the FCT Chairman of the PDP, and signed by the party’s
national legal adviser, Chief Olusola Oke, to INEC’s resident electoral
commissioner. Mr. Yohanna said he immediately protested the act, as
there was no reason for it.

On March 1, the
PDP’s national chairman, Vincent Ogbaulafor, reversed the substitution
in a letter addressed to INEC chairman, Maurice Iwu. Mr. Yohanna
accused INEC’s FCT resident electoral commissioner of ignoring the
letter and its directives.

Final judgement

Giving judgment in
the case, Justice Kolawole held that the substitution cannot stand in
the face of section 34 of the Electoral Act 2006.

The court noted
that the PDP substituted the plaintiff, Mr. Yohanna, as a result of
various allegations against him, but later cleared him after the party
conducted a thorough investigation and re-affirmed his candidacy.

Accordingly, the
PDP’s letter of February 1st, 2010, disqualifying Mr. Yohanna and
replacing him with Mr. Dikko was quashed by the court. The court upheld
Mr. Ogbulafor’s letter which cleared Mr. Yohanna of all the allegations
against him.

Justice Kolawole
banned Mr. Dikko from parading himself as the PDP candidate, and barred
INEC from further recognising him as the PDP’s flag bearer.

Finally, the court dismissed all the allegations brought against Mr.
Yohanna by Mr. Dikko in his counter-affidavit, which accused Mr.
Yohanna of failing to call witnesses.

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Attorney-General wants courageous lawyers

Attorney-General wants courageous lawyers

The new
attorney-general of the federation and minister of justice, Mohammed
Bello Adoke, yesterday, called on lawyers in the ministry to be
advocates of change and reforms in the judicial sector.

Speaking in a
meeting with the top management team of the ministry, Mr. Adoke pledged
to do his best in order to leave a worthy legacy. He promised to build
upon the foundation already laid by his predecessors and said he will
pay particular attention to the reform of administration of criminal
justice, updating of international treaties, arbitration law reform,
and the modernisation of civil procedure, among others.

Take charge

Ambrose Momoh,
chief press secretary to the ministry, said the minister encouraged all
departmental heads, legal advisers and heads of parastatals to take
effective charge of their various posts and deliver results in line
with the reform agenda of the government. He also urged the lawyers to
be diligent in the discharge of their various duties.

Earlier, Mohammed Abdullahi Yola, the solicitor-general of the
federation and permanent secretary in the ministry, welcomed the
Attorney-General on behalf of the staff and said the ministry had
competent lawyers, who are capable of driving the various programmes
and projects lined up for implementation.

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Attorney-General wants courageous lawyers

Attorney-General wants courageous lawyers

The new
attorney-general of the federation and minister of justice, Mohammed
Bello Adoke, yesterday, called on lawyers in the ministry to be
advocates of change and reforms in the judicial sector.

Speaking in a
meeting with the top management team of the ministry, Mr. Adoke pledged
to do his best in order to leave a worthy legacy. He promised to build
upon the foundation already laid by his predecessors and said he will
pay particular attention to the reform of administration of criminal
justice, updating of international treaties, arbitration law reform,
and the modernisation of civil procedure, among others.

Take charge

Ambrose Momoh,
chief press secretary to the ministry, said the minister encouraged all
departmental heads, legal advisers and heads of parastatals to take
effective charge of their various posts and deliver results in line
with the reform agenda of the government. He also urged the lawyers to
be diligent in the discharge of their various duties.

Earlier, Mohammed Abdullahi Yola, the solicitor-general of the
federation and permanent secretary in the ministry, welcomed the
Attorney-General on behalf of the staff and said the ministry had
competent lawyers, who are capable of driving the various programmes
and projects lined up for implementation.

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EU votes N360 million for democracy projects in Nigeria

EU votes N360 million for democracy projects in Nigeria

The European Union has launched a
financial support, totalling N360 million, for various projects on
democracy and human rights in Nigeria.

In a statement signed by Kelechi
Onyemaobi, the Press and Information Officer of the EU, on Wednesday,
he said the money will cover projects for two years (2009 and 2010),
and will be implemented by non-governmental organisations:

“The European Union (EU) Delegation to
Nigeria has launched a financial support for various new projects
dealing with democracy and human rights. The total amount for the
projects, covering 2009 and 2010, is €1.8 million (about N360 million).

“The projects will be implemented by
non-governmental organisations that will be selected on a competitive
basis and awarded grants by the EU Delegation in Nigeria.”

Projects to be funded

The union also listed the priority
areas that will receive funding under the scheme. They include –
protection of the rights of children and young people (including
actions aimed at addressing child trafficking); protection of women’s
rights (including actions that support the implementation of the
Convention Against All Forms of Discrimination against Women); actions
that aim at the abolition of the death penalty; and actions that target
the prevention of torture and ill-treatment by state agencies,
including extra-judicial killings.

Others are actions that contribute to the peace process in the
Niger-Delta region of Nigeria; and actions that aim at conflict
prevention and/or resolution, especially in Nigerian societies deeply
divided by religious and ethnic issues, by means of civil society
dialogues which seek to bridge societal divides and which bring
together a wide range of stakeholders to share experience and analyse
common problems.

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Activists want Babangida prosecuted over oil windfall

Activists want Babangida prosecuted over oil windfall

A network of civil
society groups has urged the Attorney General and Minister of Justice,
Mohammed Bello Adoke to prosecute a former military president, Ibrahim
Babaginda over alleged mismanagement of funds.

The coalition, in a
letter addressed to the justice ministry in Abuja, requested that Mr
Babaginda be brought to book over mismanagement of funds running into
about $12.4 billion earned from the sale of crude oil during the Gulf
War in 1991 The group asked the Minister to, “urgently and fully
implement the recommendations of the late Pius Okigbo Panel report
which indicted the former military leader of corruption and
mismanagement of the oil windfall.

The panel was set
up in 1994 by the late Sani Abacha, another former head of state, to
probe how the $12.4 billion oil windfall earned by Nigeria during the
first Gulf War was spent.

The groups said
they were concerned about the failure of successive governments to act
on the report and the non-adaptation of a White Paper since the report
was submitted to the ruling government in 1994, with the last
administration of Olusegun Obasanjo reportedly claiming that the report
could not be found.

The group, which
claims to be in possession of the report, alleged that “the Babangida
administration operated ‘a second but undisclosed budget’ with the then
Central Bank of Nigeria governor, the Abdulkadir Ahmed…and the
operations of these accounts were fraught with irregularities as the
proceeds of the sale of the crude were not shown in the revenue side
nor were the expenditures reflected in the expenditure side of the
budget.” Claiming that corruption is well entrenched in the country,
the group said “fighting it requires being ready and able to confront
powerful interest groups that clearly benefit from the status quo.” It
therefore urged the government not to let the allegations against Mr
Babaginda go unverified.

14 days ultimatum

The activists said
if nothing was done until the expiration of a two weeks ultimatum, they
will “take all appropriate legal actions nationally and internationally
to compel you to comply with Nigeria’s voluntary international
anti-corruption commitments.” The letter was signed by heads of
Socio-Economic Rights and Accountability Project (SERAP); Access to
Justice (AJ); Civil Society Legislative Advocacy Centre (CISLAC) and
Nigeria Liberty Forum, London. Others are Women Advocates and
Documentation Centre (WARDC); Human and Environmental Development
Agenda (HEDA); Committee for Defence of Human Rights (CDHR);
Partnership for Justice; Nigeria Voters Assembly (VOTAS) and Centre for
the Rule of Law On-line campaign.

The group also said it will “mobilise Nigerians through online
campaign tools such as Facebook, You Tube, MySpace, and other platforms
to ensure that sufficient pressure is mounted on the government to
implement the long-standing recommendations of the Okigbo report.” It
also threatened an online campaign on the social networking media,
Twitter against the much rumoured candidacy of Mr Babaginda ahead of
the next general elections.

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HABIBA’S HABITAT: Funny phoney!

HABIBA’S HABITAT: Funny phoney!

Phoné (pronounced
‘phonéh’) is slang for phonetics. It refers to that jarring American or
British, German or French accent that some of us adopt.

Perhaps we do it to
feel cool, to be more easily understood or to differentiate ourselves
from everyone else by seeming well-travelled and cosmopolitan.

Who knows what the
motivation for abandoning one’s native accent for a foreign one is,
when we have never left our shores and when we already speak well.

Phoné is funny
because if those really are the objectives, speaking in that affected
way does not help you achieve what you want. To the contrary, instead
of looking cool, you look foolish. Instead of being easily understood,
your speech becomes undecipherable and therefore incomprehensible.
Instead of seeming ‘exposed’, you differentiate yourself as a person
who is aping foreigners in speech rather than in attitude and behaviour.

Imagine speaking to
someone here from the same neigbourhood as you in a deep southern Texan
accent. He will look you up and down and first confirm what his eyes
are telling him, that you are ‘one of us’. Then, he will decide if you
are play-acting, choosing to confound or patronise him or if you are a
lost soul who has turned your back on our culture and are yearning to
live another life as a new person in a different country. The bottom
line is that you are not speaking his language to him, so you are not
seeking to build rapport or reach an understanding.

The results of
affected speech vary greatly. The reaction you receive could be
admiration at the discipline required to deviate from your natural
intonation shown by your masterful delivery of the heavy twang. You
could suffer derision, scorn, laughter, sideways looks of amazement,
and a “what’s wrong with this guy?” More frequently, you could be
cruelly dismissed as a superficial person who does not know the value
of who they are and the culture they are from.

The problem with
phoné is that, unless you have spent more than six months at a time
living abroad and have picked up the local lingo or accent, it is
phoney!!!! People can tell. Language is so much more than just words
and sounds. It is culture. It is a way of life; methods of reasoning;
modes of reacting. It is appreciation for things not found on our
shores, unfamiliar perspectives and different attitudes to time
keeping, formality, showing respect, and hierarchy. Language determines
whether we approach subjects directly or in a roundabout manner. It can
determine whether we are soft spoken or brash.

It only really
works if you are speaking with foreigners or if you have travelled
overseas and are speaking with the natives there. Then, the intonation
and rhythm of speech you adopt is an approximation to theirs. They find
it comforting and welcoming, if somewhat amusing at times and they
generally respond positively to it.

There is absolutely
nothing wrong with phone. As a linguist, I find myself unconsciously
taking on the accent of the person I am speaking to, or of the
environment I find myself in. Being adaptable, both in speech, gestures
and behaviour smoothens the way when interacting with others.

Stick with your own

When in your own
culture, stick with your own phonetics regardless of whom you are
dealing with. Simply focus on speaking clearly and correctly. Build
your knowledge about the world around you. Read, watch documentaries
and enrich the content of your conversations. Remember all those
aspirations you had to feel cool, to be more easily understood, to
differentiate yourself from everyone else by seeming well-travelled and
cosmopolitan – they will all come true.

Oh yes, if you are
learning a foreign language the easiest way to master it is to lay on
full phoné when practicing. Not just the words, but also the gestures,
the attitude, and the flair of the culture the language is used in. It
works.

Another trick is to
try replying in English to someone who is speaking to you in your
language. Make sure that when you reply you use the same rhythms, head
and arm movements, facial expressions and tones as your language. The
other person may not realise for a long while, or at all, that you are
not speaking in vernacular.

Just ask our
politicians. They figured it out a long time ago. They come to your
area, pepper their speech with words in your language, use your
proverbs, sing one of your traditional songs, do some of your
distinctive dance steps, and you are convinced that they are ‘one of
us’. Give it a try and see what happens. Meanwhile, it is all phoné.

Phoné can be funny, but it is also very powerful. Use it wisely! In
a mixed group, use phoné with the foreigners and be natural with your
countrymen. They will all be wowed by your prowess!

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Tunji Oyelana at home and abroad

He latches on humorously to my slip about his age. “I thank you very much. You know why you made a mistake? I don’t look 70, not so? They’ve been telling me. You said 60, go ahead. I believe you. It’s great,” he says before the start of the highlife birthday concert organised for him last November at the Yoruba Tennis Club, Onikan, Lagos.

“I’m fulfilled that I have attained that age even though I had thought I might not last till now. Not for any reason but for the fact that in this period, the lifespan in my part of the world is diminishing from year to year because of the problems that have refused to be solved by those who are governing us. And that’s a shame. I feel fulfilled and I’m grateful to God that I’m 70. I have no illness; I have a back problem, that’s all,” he adds.

Home is best

Forced to remain in the UK in 1995 after a performance because goons of the late Sani Abacha were after him, and restricted to brief visits after the demise of the dictator, Uncle Tunji, as most people call him, “missed everything about Nigeria” because, “no matter how poor my country is, home is best.”

Performing at EMUKAY, a restaurant/cultural centre on Camberwell Road, South East London however helps him overcome his nostalgia. “Some people call that place Lagos, they say ‘L’ Eko yi’ (This Lagos) because that’s the only place anywhere in the world where you find somebody singing so much highlife, entertaining the people in the way they will remember home and promoting Nigerian culture.”

Though it is assumed that he and his wife, Kike founded EMUKAY, Oyelana explains, “I didn’t establish EMUKAY; my wife started EMUKAY Restaurant to survive. She studied Physical and Health Education at the University of Ibadan but abroad you can’t be guaranteed of having jobs to do. She did it here before; she established a dress making industry which collapsed because we couldn’t return to Nigeria in 1995. She re-employed herself in England and that’s why she started EMUKAY.

“As a retired artist, as a retired teacher of music and actor–you can never retire as an actor-but as a retired government worker, sort of, I needed to do something. I’m not earning any salary by performing there; nobody pays to come into EMUKAY to listen to good highlife music. She has created a spot where I can make sure that highlife does not die.”

Didactic art

Satire and instruction are vital components of all Oyelana’s compositions (‘Double Face’, aka ‘Enia bi aparo’, ‘Gudu morning sir’, ‘Guguru Perere’ etc) and he has no apologies for that. “Any art form that has nothing to inform or educate people about it is not good art form. An art form should be entertaining, refreshing, educative and informative. If one of these elements is missing in any art form, forget it. It’s just a mess, a joke.”

‘Double Face,’ which warns against relying on friends, is one of the most popular and enduring songs of Uncle Tunji, and he retains his view on the subject. “Don’t you know that’s what people want of you? When you progress, they envy you; they want to pull you down. You cannot trust human beings entirely. You know what ‘Aparo’ (patridge) means? ‘Aparo’ has only one dress, ‘aso aparo maa npon ni’ (it’s feathers are always dirty). That’s the way a human being is.”

He also stresses his love for instruction in ‘Omugo,’ one of the songs he did in UK, which is “To tell people to respect elders, to give respect to whom respect is due. That’s a simple element in a society. If you respect yourself, you will respect others. If you don’t respect yourself, of course you won’t respect anybody else.”

His latest efforts, he discloses are, “‘Aduke’ and ‘Abeni’, songs from highlife veterans like Ambrose Campbell and Adeolu Akinsanya that I put together. The little part about it that belongs in the Diaspora is ‘Home my Home’ that ends the song because I miss home and I want others like me to think of home wherever they maybe all the time.”

Not my will

The acknowledged pioneer of the one-man band trend in highlife music reveals what informed the move: “There were occasions when I could pay the band boys and I will take them to such occasions. There were occasions when I even took them but I couldn’t pay because of the kind of proximity between me and the celebrant. But the thing is that I’m still able to promote proper arts on these instruments, not promote the effect of technology which in most cases is what is happening now. Technology is replacing ability and I won’t like that happening to me. I use such instruments but I still enforce my ability on the instruments.”

Does the former artist-in-residence in music at the Department of Theatre Arts, University of Ibadan, miss the university and the stage?

“I do. I have been a theatre man all my life but situation made me get away. When I got back from exile, I was not properly treated in UI. One particular Registrar was giving me a lot of problem because I kept wanting to go and see my family who were still in England then. He just kept haunting me all over the place wanting to know why I should… I quickly retired myself from university employment and that’s OK for me. It’s better for me because today, I don’t only meet more people to educate through my music, in fact some people still come to me in England, they want to know how to do the theory of music and I take them through. I’ve worked with universities in England too. I worked with the English Department of the University of Leeds to do some productions; I’ve worked with Femi Osofisan at the Northampton University to do some productions, I’ve done some workshops all over Britain.”

Enduring legacy

Uncle Tunji warns about the fate of highlife music, though he is happy his colleagues are holding the fort. “Highlife must not die. If it does, it would not have rewarded the effort of Hubert Ogunde, Victor Olaiya, Chris Ajilo, the late Zeal Onyia, Sam Akpabot, Adeolu Akinsanya; all highlife veterans who did a lot for the music. They left a legacy for us which must not perish.”

Like some musicians of his generation, Uncle Tunji’s heart bleeds over happenings in Nigeria’s entertainment industry, especially when he watches “TV and sees these young kids, trying to copy Americans and all that. It’s not good for us. We have our own culture, let them (follow) it.

“When you emulate them, you will never sell there and you are ruining your chances in your country too. Go and learn from the music of the past, take lessons from them and keep creating in that vein of informing, educating and entertaining.”

In the spirit of Easter

No one tires of a
good story. Add some spice to its telling and hardly anyone will fall
asleep till you’re through. That’s how the MUSON Choir and Symphony
Orchestra held an audience’s attention for three hours on Palm Sunday at
the Agip Recital Hall.

The concert was
Bach’s ‘St. John Passion,’ an oratorio about Jesus Christ’s capture,
trial and crucifixion. Based on the story as told in the Gospel of the
Apostle John, often referred to as the ‘Beloved’. Emeka Nwokedi was the
musical director, assisted by Theophilus Okang.

This version of ‘The
Passion of Our Lord according to Saint John’ was narrated by Tenor,
Guchi Egbunine in his role as the Evangelist. Through several
recitatives, he took us through Christ’s betrayal, to Peter’s denial,
and Christ’s crucifixion. John Paul Ochei (Bass) was Jesus and in the
role of Peter was Victor Hagan, whose vehement denial of Jesus, “I AM
NOT!” had the audience laughing. Even when Peter regrets his actions and
weeps “bitterly”, the audience struggled to stifle their laughter. Uzo
Emenanna (Bass) as Pilate, stole the show from Ochei, whose muffled bass
voice was hardly audible. Thank God, the Bible already tells us what
Christ said at this period. Rightfully though, Ochei’s Jesus did not
seem intimidated by the tough expression on Pilate’s face.

The choir performed a
number of chorales such as ‘Jesu, thou by toilsome death deathless life
art earning’, ‘Help us o thou God, by thy bitter passion’, and ‘Ah!
Lord, when my last end is come bid angels bear my spirit home to
Abraham’s bosom going’. In the spirit of Easter, Nwokedi asked the
audience to join the choir in singing ‘Thy Name is shining on me Lord
Jesus, day and Night.’

The chorales
provided additional information to the narrators’ recitatives. Soloists
Francesca Boyo (Soprano), Mary-Ann Agetu (Soprano), John Eclou (Tenor),
Stanley Okoli (Tenor), and Obinna Ifediora (Bass) performed the
reflections on the Passion, including ‘Chains of bondage that I wrought
me’, ‘My Heart behold the world intent’, ‘I follow in gladness to meet
thee’, and ‘O heart, melt in weeping and pour out thy dolour’.

The same choir that
provided such beautiful musical accompaniment to the story had the dual
role of Christ’s attackers. When Pilate questioned them on Christ’s
perceived atrocities and whether Barrabas the robber should be released
in Christ’s stead, the choir sang out in unified outcry against the
person of Jesus.

The performance
combined stories of loss, hope, faith and renewed hope in a musical
pattern made even more memorable by the singers’ skill. The concert
ended with Jesus having the last word, of course.

In the audience was
renowned musicologist, composer and teacher, Laz Ekwueme, who Nwokedi
acknowledged as his mentor. Ekwueme, also a popular film actor, was
greeted with shouts of ‘Igwe!’ when he rose to honour Nwokedi’s praise.

Palm Sunday is
celebrated among Christians as the day of Jesus’s triumphant entry into
the city of Jerusalem. It is the Sunday preceding Good Friday (the day
of Christ’s death) and Easter Sunday, (the day of Christ’s resurrection
three days after his death.)

The memory of this concert will probably last till the next Christian
celebration.

A jazz groove in Benin

Musically, Benin
city is usually associated with the ‘Titibiti’ and other sounds of
master guitarist Victor Uwaifo and the Edo-blend Highlife music of
Osayormore Joseph. There is, however, now a new flavour of music on the
entertainment scene in Benin City: the lively jazz music of Coast 2
Coast, led by Newton Sax.

It is a pleasant
surprise to hear young Nigerian musicians play ‘serious’ instrumental
music, it is also heartening to see instrumentalists, especially at a
time when most of what now passes as the norm and apex of popular
Nigerian music are singers backed by rhythm machines and
computer-simulated sounds.

Newton P.A. Okoeri
a.k.a Newton Sax is a Computer Engineer who graduated from the
University of Benin in 2007 and now leads the Coast 2 Coast band,
playing the alto, tenor and soprano saxophones. He started off playing
the bass guitar and three years ago switched to playing saxophones under
the tutelage of Papa Roy; one of the first four musicians sent abroad
by the Nigerian Army to learn how to properly play the saxophone.

Interestingly,
Newton Sax formed the Coast 2 Coast musical outfit eight years ago as an
investment company. He now leads the second edition of the band which
was formed two years ago. Already it has grown into a very tight nucleus
of electric piano, bass and drums which provide the accompaniment for
Newton’s saxophone and their collective jazz sounds.

Why did Newton
choose to play serious music? “It is actually a jazz group,” he
confirms. “I discovered that in this part of Nigeria everybody likes the
idea of singing,” he explains. “I found there are areas that are
lacking. I had cultivated the habit of listening to jazz and liked it
and it became part of my life. Unfortunately people give less value to
instrumentation in this part of Nigeria and because it has not been done
well. We decided to do it well and it is now attracting attention.”

How was he able to
get such young like-minded musicians like himself to form his Coast 2
Coast band? “Based on their personal interest, the key members of the
band learnt how to play their instruments from their own masters. I go
out for shows and performances and I meet musicians and I have been able
to make use of them based on their urge and interest towards jazz; a
music they have heard mostly on CDs and tapes.”

The rarity of young
musicians tuned into and willing to play jazz music is well understood
and appreciated by Newton Sax. “I define jazz as few players and few
listeners” he aptly says. Well aware of the scarcity of jazz fans in
Benin City, he has worked out a strategy to introduce and attract more
people to his music.

“Basically, most
people appreciate the way I mix my instrumentation in music. I mix it up
with generational hits like today’s Nigerian jams. I play these hits as
instrumental music and lure my listeners into the instrumentational
representation of music, which is what jazz music is all about. For now,
we are the only existing jazz group in Benin City.”

Newton Sax has no
qualms about abandoning his Information Technology training in favour of
a full-time career in music. “Music is a special gift from God and it
is what I enjoy doing. I build my vision on it,” he declares. And in his
view, “Jazz music is made for scholars; people who have something up
there. It makes them think and keeps them happy.”

It is no accident
that all the members of the extended Coast 2 Coast musical outfit are
undergraduates and, an appreciable number are graduates. Their
educational level lends itself to their intellectual approach to serious
music

Coast 2 Coast is
also eclectic. When the mood takes them and the atmosphere demands they
go down memory lane and play oldies-but-goodies like Ifeoma by Felix
Liberty. This and other hit songs of old; particularly from the golden
age of Nigerian pop-soul music of the 70s and 80s, provide the
opportunity for the four singers – Tosin King, Blessing Williams, Osahon
Agbonifo and Matthew Kamalu – to strut their stuff.

Newton admits that
his music “started from the church” and is sure in his mind that there
is no ethical or spiritual conflict between the music he plays in church
and the music he plays in nightclubs and concerts. This assurance that
there is no separation of purpose explains why most of his five original
instrumental compositions are Gospel tunes. “We organise jazz concerts
yearly,” he explains “and we are planning for the 2010 Edo Gospel Jazz
Festival in November.”

At their regular
Sunday evening performances at the Hexagon Entertainment Centre in
G.R.A. Benin City, Coast 2 Coast play a non-stop instrumental flow of
cross-over jazz hits and some country-and-western music thrown in.
Innovatively, a talking drummer, Taiye Thomas, has been added to the
rhythm section to give the band a rhythmic cutting edge.

The other
instrumentalists who are featured as extended soloists in addition to
leader Newton’s saxophone solos, are: guitarist Ekhator Nicholas Esosa
and pianist Nmezi S. Ifeanyi. Bass guitarist Olusegun Kehinde Emma and
drummer Nwanjei E. Sylvester provide adequate and driving support.
Highlights in these segments also include sessions of interplay between
Newton on soprano saxophone and guitarist Ekhator who frankly admits
that he is greatly influenced by Earl Klugh.

The audience is
quite receptive to the music of the Coast 2 Coast band, especially when
they play familiar and popular tunes by George Benson, Earl Klugh and
Stevie Wonder’s Sir Duke. The band is working on an album which they
hope to release before the end of the year. According to Newton, “our
future is to become one of the best jazz artists in Nigeria.” They are
definitely moving towards that direction and their fans and potential
coverts should expect an album of instrumentals and vocals soon.

However, Newton and the Coast 2 Coast band are far from complacent.
“We are still aspiring to do more,” Newton says, adding that, “Everyday
is a learning process. Somehow some day by the Grace of God we will get
to the peak!” He is as modest as ambitious; well aware of the ups and
downs in the music industry. “I have a vision and I have a lot of
challenges ahead of me. Jazz is not a hopeless kind of music as some
people think. My ambition is to spread jazz round the world!”

Lawyers say Halliburton scandal shames Nigeria

Lawyers say Halliburton scandal shames Nigeria

The Nigerian Bar
Association yesterday said that it was a shame that, one year after a
panel was constituted to investigate the $180m Halliburton bribe
scandal, no report had been submitted nor any prosecutions made. They
added that the investigation into the case has been ignored by the
relevant authorities.

The President of
the NBA, Rotimi Akeredolu, said this at the 5th Business Law conference
organised by the Section on Business Law of the NBA, in Abuja.

“Last year about
the time of this conference, the Halliburton scandal broke open and at
that time the NBA remarked that it was one scandal too many and it
should not be swept under the carpet,” he said. “All other countries
that are in one way or another connected with the scandal having put
machinery in place to bring the culprits to justice but in Nigeria as
the case often a few attempts at playing to the gallery were made and
thereafter the matter has effectively been swept under the carpet. This
attitude has come to characterise our insincerity to deal with the
issue of corruption which stands firmly between us and development.”
Specifically, he said the manner in which the Halliburton scandal was
handled showed that the country was not sincere in the fight against
corruption.

Show of shame

He further said
that there was nothing wrong with the constitution but that those who
operated it had refused to be decent, adding that the association would
not shy away from speaking the truth to those in power.

He noted that the
disgrace which Nigeria was subjected to before Goodluck Jonathan became
the acting president would have been avoided if only President Umaru
Musa Yar’Adua had followed a path of honour by writing to the
leadership of the National Assembly.

“If honour attended every action following our President’s illness,
we would have been spared the show of shame and object of ridicule that
we have become.”

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